Tag Archives: documentaries

Stream Now: Award Winning Docs

If you’re not fortunate enough to be attending Sheffield Doc/Fest this week, but are in the market for some great docs, here is a list of films that have played at the festival that you can now stream on Netflix or BBC IPlayer. Descriptions are from the copy I originally wrote for Doc/Fest.

NETFLIX FILMS 

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.

3 1/2 Minutes

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.

Cartel Land

In this double Sundance winner, Matthew Heineman (main pic above) 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.

Searching for Sugar Man

Sixto Rodriguez was discovered by two music producers, whilst living on the streets of Detroit in the late 60s. They quickly recognised him as an inner city poet, his poignant lyrics about working class lives reminiscent of Bob Dylan. They made two albums with Rodriguez, and never understood why they were total flops. Unbeknownst to them, in a pre-Internet, apartheid age, a bootleg copy of a Rodriguez album made him an inspiration to a generation of South Africans just beginning to test the ties that bind. Yet all that his South African fans knew about Rodriguez, was that he had spectacularly killed himself on stage. After years of wondering, two of his biggest devotees set out to learn more, and eventually discover the shocking truth behind the legend. This beautifully crafted film scooped two major awards at the Sundance Film Festival, and shows in its edge-of-the-seat storytelling, just how powerfully a documentary narrative can grip.

We Are Legion

Few people cite Scientology as a force for good in their lives – outside of Scientologists themselves, of course. But it was communal hatred of the creepy cult – and their bullying, litigious online presence – that forced the hacktivist group Anonymous from a culture of pranksters to an influential cyber-army. As a number of the group’s most prominent activists face over-the-top prison sentences, director Brian Knappenberger explores the history of the radical collective, and how it rose from a patchwork of bloggers, to become an influential change-agent in the Arab spring. Inevitably with such an amorphous, all embracing group, schisms endure. Most want to use their numbers to promote civil disobedience and curb some of the world’s excesses. But others simply want to continue to cause anarchic mischief online, or as one of this doc’s many entertaining commentators puts it: “If you’re not out there making epileptics have seizures, then you’re a moral fag”.

National Bird

Lisa Ling regrets the 121,000 lives she spied on electronically in a two-year period for the US Air Force. She’s now trying to make amends by visiting bombing victims in Afghanistan. National Bird follows Ling and two other whistleblower veterans wracked with guilt about the secret US drone war, and the many civilian casualties that continue to be denied by the powers that be.

BBC Storyville on IPlayer

Client 9

At some point you would have thought New York Governor Eliot Spitzer, who was an aggressive prosecutor of prostitution rings, might have written a note to self: Do Not Buy Hookers (no matter how high class). But no, alas, an FBI sting of a pricey escort service led to Spitzer’s fall and resignation after barely a year in the guv’s chair. Unfortunately for us small people, Spitzer was one of the good guys: he had built a career tackling excesses in the banking industry (before anyone else did), as well as going after environmental polluters and other baddies. Oscar-winning director Alex Gibney pieces together the rise and fall of Spitzer, and the long line of powerful enemies he left in his testosterone-fuelled wake. Accompanied by a breezy soundtrack, a range of entertaining interviews – including his chief nemeses, favourite call girl, and Spitzer himself – fill us in on one spectacular fall from grace.

Unlocking the Cage

Unlocking the Cage

In this legal thriller from vérité legends D.A. Pennebaker and Chris Hegedus , we follow Harvard professor Steven Wise, who is arguing to a series of sceptical judges that New York’s chimpanzees should be persons in the eyes of the law. Wise is convinced he can make legal history – if only he can keep his primate plaintiffs alive long enough to represent them in court.

Exposed: Magicians, Psychics and Frauds (formerly An Honest Liar)

An Honest Liar

As a magician “The Amazing Randi” spent decades wowing audiences with astonishing feats. But as Randi’s fanbase grew, he became uneasy at how conmen and faith healers used the tricks of his trade to deceive the masses for profit. Randi made it his life mission to expose psychics, even using the bullhorn of the Johnny Carson show to do so. Directors Justin Weinstein and Tyler Measom take us through a hugely enjoyable series of Randi’s exposes, from the spoon bending of Uri Geller, to a televisual faith healer aided by an earpiece and a compliant wife. As he continuously worked to debunk the psychics, Randi met angry denial at all levels – even from the gullible scientists he did his best to aid and abet. As he eases into his twilight years still fighting deceit, Randi finds that a deception at the heart of his personal life might prove the costliest trick of all.

Pussy Riot – A Punk Prayer

They knew how to make an impact: Pussy Riot’s performance inside a Russian cathedral might have lasted just a few seconds, but its repercussions continue to rock the Russian state. Mike Lerner and Maxim Pozdorovkin’s absorbing documentary brings us straight into the centre of the ensuing trial, where three members stand accused of “hooliganism motivated by religious hatred”. The filmmakers obtain astonishing access to the legal system, including the courtroom, where the girls murmur from within the confines of a glass cage at the sometimes farcical mayhem around them. Reviled by much of the Russian public, with even their closest family struggling to defend their actions, they stand firm by their convictions – and hatred of Putin. A truly compelling immersion into the clash between a generation determined to challenge an oppressive status quo, with those who are equally determined to maintain it.

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Five of the best @SheffDocFest 2017

For the fifteenth year running I’ve had the good fortune to watch a good chunk of Sheffield Doc/Fest’s programme to help write the film catalogue. Of the 35 features that I’ve seen, here are five of my favourite:

The Cage Fighter

This powerful vérité documentary (pictured above) tells the story of American Joe Carman. The 40-year-old blue collar worker gave up cage fighting years ago, but claims it’s the only arena where he feels confident. When he returns to fighting without the blessing of his wife and four daughters, his dangerous hobby soon threatens to tear the family apart.

Dina

A groundbreaking observational documentary with the feel of an indie drama. Dina and her fiancé Scott, both neurodivergent, have moved in together to ready for their upcoming wedding, and have set about the messy business of forging lives. In increasingly intimate scenes, Dina is determined to let Scott know that her difficult past doesn’t stop her wanting a passionate future.

Trophy

Trophy

Facing a catastrophic decline in wild animals, big game hunters and conservationists often make uneasy bedfellows, as highlighted in this gripping documentary. South African rhino breeder John is convinced that legalising the sale of rhino horns will save the species from extinction. Meanwhile, American hunter Philip ventures to the remote wilderness of Nambia and Zimbabwe in his personal quest to hunt the “big five” in their natural environment.

The Road Movie

The Road Movie

In Dmitrii Kalashnikov’s mesmerising compilation of dash cam footage, we are spectators to a series of extraordinary moments. From reckless drivers and hammer wielding thugs, to extreme acts of nature and the occasional wild bear, this film is an eccentric portrait of contemporary Russia, as seen, all too briefly, through the front windscreen.

The Rise and Fall of Geoffrey Matthews 

The Rise and Fall of Geoffrey Matthews

A profoundly personal film from one of Britain’s most talented documentary directors. To establish a better rapport, Morgan Matthews begins filming his dad, and carries on for a decade. Once a high flyer, Geoffrey lives precariously with his eccentric partner Anna. As revealed in very intimate scenes, Geoffrey has more than a few regrets, not least his emotional distance from his six children.

ARMED AND UNARMED IN AMERICA

by Carol Nahra

Two British documentaries airing this week provide nuanced and balanced glimpses of a frightened American psyche. In Unarmed Black Male, screening on BBC Two’s This World strand on Wednesday, James Jones takes a 360° approach to telling the story of the trial of Stephen Rankin, a policeman accused of murdering a black teenager. The following night Channel 4’s Cutting Edge strand airs The Gun Shop, where director John Douglas brings a mini fixed rig to an American gun store. (The films are part of a noticeable uptick in British television programmes examining all things American in the run up to the November 9 election, which continues to grip and horrify Europe). I spoke to both directors as they were putting the finishing touches on their films.

For Jones, his focus on the Portsmouth Virginia shooting stemmed from his interest in the growth of police shootings in America documented by citizens. He was thinking of approaching it in a similar way to films he made in both North Korea and Saudi Arabia, where he employed an abundance of both curated and collected footage by ordinary people caught up in extraordinary situations. “I wanted to make a film about how technology is changing awareness of American police shootings,” he says.“In the past the police statement has been taken as gospel truth. So there was the idea that people being able to film it on mobile phones was transforming our perception of this issue.” Whilst scouting such stories, Jones came across details of William Chapman’s murder via the Guardian’s acclaimed interactive journalism project The Counted. In a brief early morning encounter outside a Walmart store in Virginia, police officer Rankin had shot and killed Chapman at close range. Extraordinarily enough in the US, Rankin was actually going on trial in the summer for first degree murder. Like many American trials, it would be filmed. Jones had his story.

rankin
Stephen Rankin

In a documentary that never drags in the course of 90 minutes, Jones secures an enormous range of interviews from those caught up in in the highly emotionally charged events — including Rankin’s only interview to date. The interview came about through dogged persistence, by befriending both Rankin’s wife Dawn, who features prominently in the film, and then Rankin himself. Jones found that both were really wanting to tell their side of the story: “They felt very beaten up by the local media and it felt like she was almost like waiting for the call,” he says.  

The Rankin interview succeeds in instilling viewer empathy for a man on trial for his freedom after seemingly just doing his job (Rankin argued he fired in self defense after Chapman dislodged Rankin’s Taser). But soon the film offers up two astonishing interviews providing a very different perspective. First Rankin’s ex-wife describes his obsession with guns, including continuously discussing scenarios where he would discharge against an unarmed suspect. Then Rankin’s former boss, Ken King, a highly distinguished officer, is interviewed saying: “(Rankin)  was one of these guys who could cause a riot at a church social. He could go to any event and it would just escalate out of control.”  It’s jaw dropping, powerful testimony which is impossible to dismiss.

Jones said that neither Dawn nor Rankin were aware of these damning testimonials when he interviewed them, but he has since talked Dawn through it. “She’s going to hate some of it, she really will,” he admits. “But I think the thing is, on their own terms they come across as sympathetic. The film is much more fair and balanced for having them in it. And you get a sense that there are two families’ lives destroyed by this, whatever the details of the shooting.”

The film goes on to show the ripples of misery stemming from the Walmart shooting, following the quest of Chapman’s family for justice, as well as a mother from Kazakhstan whose inebriated unarmed son also was killed by Rankin, who was never charged.  To round out this story, Jones and his team managed the impressive feat of tracking down two of the anonymous jurors, one black and one white, who describe in detail some of the thoughts behind their deliberations, to which they each clearly brought their own personal experience to bear. “The white juror that we interviewed certainly had had experiences in her life that she told us about that shaped her worldview and her view of someone like William Chapman,” says Jones. “So that was key to the jury’s deliberations. And that’s quite scary that that would be the case.”

william-and-baby-gaby
Victim William Chapman

Indeed, like so many films about the US, Unarmed Black Male offers up a vision of dysfunctional race relations. What did Jones himself make of racial tensions?  “The divide felt very stark. As an English person who lives in London where you are surrounded by people from all over the world and there are very few ghettoised neighbourhoods, it’s all a kind of melting pot, going to the south of America was a culture shock. You’d go into neighbourhoods and you’re the only white person there. And you’re viewed with great suspicion at first because white people usually spell trouble in that neighbourhood. So I was shocked that the legacy of segregation was so visible.”

Coming as a stranger into a volatile story, Jones is delighted by just how many people agreed to take part. “We were really happy with the way the film turned out. I don’t know if it’s America, or the South, but everyone was willing to talk to us. And that just never happens. Usually you’ve got like a one in three chance of people agreeing, but for one reason or another they really did want to tell their story.”

In the end, the type of mobile phone footage that was the seed for this film instead becomes a grim drumbeat of misery. In between scenes from the Rankin storyline, Jones uses such video to catalogue the many police shootings of black victims which took place, even in the relatively short time span of the film. 

Made using very different techniques, The Gun Shop nonetheless sheds light on similar terrain, notably the current climate of fear in the US which contributes to a gun death rate at least ten times higher than the rest of the developed world.  Director John Douglas says that he and the development team at Rogan Productions were very keen to find a shop whichb flew in the face of British perceptions: “It felt like we should try and move away from very stereotypical views of gun shops and gun owners. So finding somewhere where the shop was based in a community but was diverse, had young and old, and wasn’t just the community you’d normally expect.”

gunshop-publicity-still-5a
Joel Fulton, the gun shop’s co-owner

The shop they settled on, in Battle Creek, Michigan has a shooting range and runs educational classes, in addition to a constant stream of varied customers. I wondered what the owners of the gun shop made of the fixed rig style of programming they were proposing – using mounted cameras operated remotely – which is unknown in the US?  “Yeah it is unknown,” Douglas agreed. “The sort of reactions we would get would be people would think it was like a reality show or Big Brother.  It took a while. We showed them some 24 Hours in A&E and some other things I’d worked on which were not rigged but not sensationalising and treated people with respect. So I think that helped.”

johndouglas
Director John Douglas in the edit

For the six day rig shoot they kitted out the shop with 12 cameras (three would shoot at any one time); Douglas directing from a backroom gallery. Assistant Producer Rebecca Coxon manned the shop floor, seeking consent and fitting customers with radio mics. In a week of follow up filming they delved more into some of the stories, which together paint a rich tapestry of reasons underlying why so many Americans are arming themselves.

Back in London, working with experienced fixed rig editor Sam Santana (see this Docs on Screens interview), Douglas was painstakingly working to make a film which took a nonjudgmental tone. “It would be really easy to make an anti gun film. Really easy,” says Douglas. “But the way that I’ve hoped we approached it in this documentary — and to some degree all documentaries — is always to be able to put yourself in other people’s shoes a bit. Because clearly whether anti gun or pro gun there’s not all that anger and rhetoric because they’re bad people and they only want to hate one another and they want to ruin everyone else’s life. They’re doing it because they feel really passionate about the issue.”

Unarmed Black Male airs Wednesday, November 2nd at 9pm on BBC Two. The Gun Shop airs Thursday, November 3rd at 9pm on Channel 4.

Coming of Age Docs Shine at BFI LFF

During the 60th BFI London Film Festival, which wrapped on Sunday, one of the most acclaimed dramatic features was British director Andrea Arnold’s American Honey, a coming-of-age story acclaimed by critics for its “visually fascinating aesthetic.” But far away from the buzz surrounding such Oscar hopefuls, in the relative quiet of the Documentary Competition, I found a clutch of coming-of-age films that equally shone. Together, they employ a battery of storytelling techniques to bring their young protagonists’ lives to the big screen.

ginger
Ginger, from All This Panic

All This Panic, a feature debut by husband-and-wife filmmaking team Jenny Gage (director) and Tom Betterton (DP), follows a handful of private school-educated teenage girls in Brooklyn over three years of their late teens. Ginger is “terrified of getting old,” clashes with everyone in her family, and finds herself adrift as her friends begin university without her. Her father tells her she can stay in the house, musing that they used to be best friends but have spent the last six years fighting (a haunting line that brings chills to those of us with young daughters with whom we are still on good terms). The other main subject, Lena, is self-possessed and articulate, and at the film’s outset, preoccupied with having her first stab at love. But Lena also has bigger issues on her mind: Her brother has significant behavioral problems, and both her parents—now separated—are living turbulent lives. Indeed, despite their privileged education, most of the girls here are dealing with significant issues, from broken families to self-harm and emerging sexuality. Photographers-turned-filmmakers Gage and Betterton manage, without formal interview or narration, to capture the complexity of teenage lives with the film’s striking visual style.All This Panic is beautifully shot, very close up, and in a dreamy-yet-pacey style that mirrors the girls’ inner lives, consumed with whom they are and whom they might become. The film is very effective at evoking the storminess of the high school years, as well as the fleetingness of this period.

Covering similar territory, in at times a strikingly similar visual style, is Alma Har’el’s Lovetrue. She interweaves the stories of three young subjects spread out across the US: a young erotic dancer in Alaska, a surfer-turned-single dad in Hawaii, and a teenage girl in a New York City family of singers whose parents have dramatically split. Each is navigating difficult relationships and trying to make sense of a world that often seems cruel. Har’el’s 2011 debut feature, Bombay Beach, was an innovative hybrid, with her rural Californian characters often breaking out in dance. She continues to break new ground inLovetrue, which features enacted scenes (filmed in a home-movie style reminiscent of Sarah Polley’s Stories We Tell) that include both flashbacks and flashforwards, often with the subjects interacting with their dramatic counterparts (see featured photo above). While I admired the beauty and innovation of the film, the stories of the three protagonists were strong enough that in the end I felt the dramatic elements were sometimes more of a distraction than a service.

Less innovative in style, but no less compelling, were two additional coming-of-age films in the documentary competition. Mehrdad Oskouei’s Starless Dreams takes us inside a detention center for 18-year-old Iranian girls. Their crimes sound shocking—they range from larceny to murder—but their back stories, revealed matter-of-factly to a sympathetic Oskouei, are even more disturbing. Together they paint a portrait of the most dysfunctional rung of Iranian society, where drug addiction rules and families violently turn on each other. But inside the center, the girls act much as any other high-spirited teenage girls living together, and the film says more about what we have in common than our differences. The press notes say that Oskouei worked for seven years to gain access to the institution, an effort that more than pays off for a film that has already garnered both an Amnesty International Award and a True Vision Award and went on to take the LFF’s Grierson Documentary Competition Award.

 

starlessdreams
Starless Dreams

 

At the other end of the socio-economic spectrum are the French students who are the focus of Claire Simon’s observational documentary The Graduation. They have come from all over France to take an astonishing entrance exam to the country’s most prestigious film school, La Femis. Over three months the wanna-be auteurs undergo a host of tasks, mulled over by the film’s real stars – the industry figures who serve as the selection committee, offering up withering critiques once the candidates have left the room. I emerged in awe of the articulacy of the candidates, and in wonder at the complete Frenchness of the whole scene, which comes with more than its share of chain-smoking and Gallic shrugs.

Not surprisingly, many of the festival’s fare across the genres reflected the turbulent times in which we live, with a host of films focused on stories of migration and war. Among these was the winner of the short film category, the documentary 9 Days – From My Window in Aleppo. Finding his apartment smack-dab on the frontline when war breaks out in Syria’s largest city in August 2012, photographer Issa Touma begins filming from his window; this compelling short is an intriguing insight into the opening days of the ongoing destruction of Aleppo.

While nonfiction media is never going to dominate at the BFI London Film Festival, where the focus remains firmly on the dramas and the red carpet, it can be said that there has never been a better time for cinema documentaries in London. There has been a boom in arthouse cinemas opening up in the last few years (my North London neighborhood, Crouch End, which formerly had none now has three within a mile). And in order to differentiate from the temptation to remain at home in front of the television, cinemas are featuring many documentaries with Q&As or panel discussions afterwards. During the LFF I took a side trip half a mile away to the Bertha Dochouse, which has been exclusively showing documentaries for more than a year. There I hosted a panel following the screening of yet another coming-of-age documentary, Driving with Selvi. Directed by Canadian Elisa Paloschi, it’s an inspiring tale of how a child bride in India escaped her life to become a taxi driver. Having spent ten years filming Selvi, Paloschi eschews dwelling on the abuse that she suffered as a child bride, focusing instead on the confidence she gained as a taxi driver and through a second marriage, this time for love. This week I’ll be returning to moderate another panel, following Rokhsareh Ghaem Magham’s multi award-winning Sonita, yet another tale of an inspiring young woman whose story continues to put “bums on seats,” as they say here.

This article also ran on www.documentary.org

Fixed Rig Focus: The Editor

Factual editor Sam Santana has worked on an enormous range of British factual television in a career spanning 17 years, including the award-winning Katie: My Beautiful Face and The Murder Workers. The last five years his work has been dominated by a genre which itself has come to dominate the British TV landscape – the fixed rig. Taking the technology from the Big Brother House and applying it to the wider world, viewers have immersed themselves in the worlds of hospitals (One Born Ever Minute, 24 Hours in A&E), deep-sea fishing trawlers, police stations, model agencies, secondary schools and even an African tribe. Santana has worked on many of them, and been instrumental in helping train a new generation of editors through a training scheme run by The Garden Productions.

sam 4
Sam Santana

 

Santana’s latest programme, Inside Birmingham Children’s Hospital, is currently running on Channel 4. The series, made by fixed rig experts Dragonfly TV,  uses a wide range of filming techniques to supplement a 80 plus camera hospital rig, including mobile phone footage, still photography, single camera crews, as well as patient car footage using GoPros. The viewer feels like a privileged observer to the difficult and very inspirational journeys that families undergo when facing health crises, and I can’t recommend it enough as an example of riveting public service television. I spoke on the telephone to Sam about how his working life has changed with the advent of the fixed rig:

In a nut shell, what is the difference between editing from the rig and traditional factual editing?

Anything in fixed rig is completely different from anything in traditional factual editing. The main difference is there is no producer. You don’t produce your actuality because there is no producer or director filming – it’s a fixed camera. From a technical point of view, with traditional factual when a director brings you his or her rushes you can immediately look at them. You cannot do that with a rig. There’s quite a lot of groundwork you have to do before you can start looking at the material – organising the material, pulling the right microphones, syncing the cameras up. So from a technical point of view that is a big difference. Also, when you’re editing something that has been shot traditionally with a director on a single camera, you have an expectation at the beginning of editing a particular scene that you know how that scene is going to turn out, because the director has shot it with an idea. When you edit a scene that is shot on the rig, you have no idea how it is going to end, you don’t know if it’s going to deliver, and so really it’s in the lap of the editor to try to make it work in one way or another.

download
Jack and parents from Ep 4 of Inside Birmingham Children’s Hospital

What do you enjoy most about editing from the rig?

Really what I enjoy most about it is how really organic is. How pure it is. Because of the fact that you have to go through all those hours and hours of material, not knowing how anything is going to turn out, not having any control over what people are going to say. Because people will forget the cameras are there. I’ve done probably over 40 episodes of 24 Hours in A & E, and Children’s Hospital, and more, and all the time people forget the camera. They may be quite self-aware at the beginning but they forget it. And I think that’s what makes it so pure, so different. And on top of that you have so many camera choices and so many angles. At times it feels that, although you are cutting real life, you feel you’re cutting drama.

What are the biggest challenges?

One of the biggest cons of rig documentary editing is the sheer volume of material and the fact that actually you need the luck of the draw. Because as I was saying before, when the director goes to film, he or she has met a family, a set of contributors. And that’s why they’ve decided to follow a story -because of the research they’ve done before. With most rigs, that research doesn’t happen. So you meet somebody there and then and you just embark on that mini journey with them. And you don’t know how things are going to end. And sometimes you have less choice of who you are going to feature in your programme and therefore that makes things more complicated. So a story that on paper may feel great because it looks big that happened on the rig, it may not then have the dramatic storytelling that you would like it to have.

For 24 Hours in A&E, you get all of your 24 hours of footage, and then, once you’ve looked through it,  producers have to go out and do those follow-up interviews and dig out those background stories, correct?

Yes, for example there’s a particular story in 24 Hours in A&E, one of the last ones I worked on, where you had this tiny story of a young lad who had broken his leg. The doctor thought he was faking it, he was like three or four years of age. So medically it had nothing, you know? It was just a tiny thing. But then because we thought he was funny and quirky on the rig, we then went and interviewed the grandmother who brought him, and she gave an incredible interview that explained to you so many different things and the unconditional love which she had. It transformed the rig material. And a story that was only seven minutes in terms of screen time completely kidnapped the film I think. 

How much do you think your fixed rig experience is informing jobs you do that aren’t fixed rig?

I think whenever you go back to traditional observational documentary making there are things that you have to untrain yourself about. Because the rig provides you with an amazing amount of multicamera footage to cut to. It’s easier to create dramatic pauses on a rig than on single camera. And so you have to sort of make sure that when you go back to single camera observational documentary making that you forget the rig quickly. Because if you don’t you won’t get it done.

Where is the fixed rig genre heading?

I’m hoping that the rig will provide us a way in the future to blend itself to the old techniques. You know that if someone is talking to you, you can use their voice to take you to the rig and use the rig as an example of what that person is saying. At the moment the rig is used as a bed of shots and actuality, which is unadulterated by anyone else’s voices apart from the interview. It will be interesting to see where the rig takes us in the future.


Catch up with Inside Birmingham Children’s Hospital on All Four. For more on this topic see Fixed Rig Focus: The Exec

 

 

Doc/Fest ’16: Six to Watch

For quite a few years I’ve had the good fortune to preview large chunks of the Sheffield Doc/Fest programme, in order to help write the film catalogue. Of the thirty-five films I watched for this year’s festival, which opens on Friday, here are a few of my favourite:

Presenting Princess Shaw

Talented but isolated, New Orleans care worker Samantha spends her spare time uploading acapella videos of her original songs to YouTube, to a smattering of viewers. Unknown to her, in a far away kibbutz, Israeli mash up artist Kutiman is composing his next viral sensation – with Samantha as the star. Following them both, director Ido Haar brings us a gratifyingly heartwarming fairy tale from the digital age.

 

Weiner

Two years after resigning from Congress for tweeting a picture of his bulging yfront, Anthony Weiner is running for Mayor of New York. His loyal wife Huma is at his side, and the tenacious politician has even invited a documentary crew along for the ride. The trouble is, he’s neglected to curb his digital dalliances, giving us jaw-dropping access to a campaign that is soon in total meltdown.

Mr Gaga

Immerse yourself us in the world of modern dance through the vision of Ohad Naharin, artistic director of Israel’s Batsheva Dance Company. Through extensive archive, observational footage and beautifully filmed dance sequences, Doc/Fest returnee Tomer Heymann focuses on the fascinating stories underpinning Naharin’s creative process, and how an untrained veteran spurned the tutelage of the dance world’s maestros to become one of the most talented choreographers working today.

Unlocking the Cage

In this legal thriller from vérité legends D.A. Pennebaker and Chris Hegedus ,we follow Harvard professor Steven Wise, who is arguing to a series of sceptical judges that New York’s chimpanzees should be persons in the eyes of the law. Wise is convinced he can make legal history – if only he can keep his primate plaintiffs alive long enough to represent them in court.

Life, Animated

After years of silence as a child, Owen Suskind amazed his family by beginning to communicate through his biggest passion: Disney films. Now leaving home, Owen is learning that not every step in life has a Disney guru. Director Roger Ross Williams (God Loves Uganda) returns to Doc/Fest with a masterful film about how one close-knit family navigates life with autism.

 

 

National Bird

Lisa Ling regrets the 121,000 lives she spied on electronically in a two-year period for the US Air Force. She’s now trying to make amends by visiting bombing victims in Afghanistan. National Bird follows Ling and two other whistleblower veterans wracked with guilt about the secret US drone war, and the many civilian casualties that continue to be denied by the powers that be.

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Sheffield Doc/Fest runs from 10-15 June. I’ll be moderating a discussion about the power of drones, and the themes stemming from National Bird on Tuesday afternoon.

Women Directors Shine at NFTS 2016

pacemaker
The Pacemaker

I enjoyed a fantastic few hours navigating the world yesterday from the comfort of a central London cinema seat, at the annual National Film and Television School graduation show. My documentary students and I sat through films by eight emerging documentary directors. Only two of them were women, but I am pleased to say that we all agreed that they were the strongest of a very impressive crop. In The Pacemaker, director Selah Hennessy follows 96 year old British newcomer Charles Eugster as he prepares for the 100m race at the World Masters Athletics Championship, only to find that he’s up against a formidable 98 year old who boasts a number of world records. Very well paced, full of warmth and humour, the film was a delight from start to finish.

Equally enjoyable, and provoking abundant laughs in its own right, was Miriam Ernst’s charming 40 minute film The Sunflower Inn. Beautifully observed, it follows the activities of a Rome pizzeria staffed primarily by Down’s Syndrome waiters and waitresses, who enjoy mucho hugs and dalliances whilst learning how to be professional waiters.

A third standout is Tariq Elmeri’s eye opening half hour documentary Forest Gate Girls, in which he has gained access to an all girls Muslim school in East London. The insights into the developing minds of the highly articulate and reflective fifteen year old girls about their relationship with Islam and with Britain felt at times revelatory.

I would have thought it would be difficult to top last year’s films, which I wrote about with equal effusiveness, but once again the NFTS has shown its training in the art of observational film making is second to none.

Does British TV have a problem with independent documentary?

The Unorthodocs season at Somerset House features acclaimed documentaries never seen on British TV. Are UK broadcasters denying audiences access to a golden age of independent film-making?

At first glance, they don’t really have much in common. The Closer We Get is a first person documentary, where filmmaker Karen Guthrie uses a period of caring for her ailing mother to prod into her family’s painful past. In 3 1/2 Minutes, 10 Bullets, director Marc Silver masterfully investigates one of the US’s all too commonplace racially motivated killings. And in The Look of Silence, Joshua Oppenheimer follows up his groundbreaking multi-award winning The Act of Killing with a further journey through Indonesian killing fields, this time through the lens of a single traumatized family. But what these three disparate films do share is the fact that despite widespread acclaim, they have not found a place on British television. Instead they are all running as part of the Unorthodocs strand at Somerset House this winter.  Curated by Dartmouth Film’s Christopher Hird, a champion of independent feature docs, the films in the series collectively serve as an admonishment to UK broadcasters to up their game.

U.S. Protesters Gather For Peace In New York
We Are Many; photo by Mario Tama/Getty Images

Much has been written about how we are in a golden age of documentary. Indeed, with many more potential avenues of distribution – along with the technological advances which give us all the opportunity to become filmmakers – the future looks bright for those determined to persevere in this difficult art form. But what is less “golden” about this age, is the fact that British broadcasters – still powerful and still in control of the best way to reach the masses -have largely turned their backs on commissioning single feature length documentaries.

I recently sat on the Grierson judging committee for Best Documentary on a Contemporary Theme – International. It was striking that very few of the outstanding films on our longlist were given television money up front. All too often broadcasters hedge their bets, forcing independent filmmakers down the difficult path of self-financing, and only deciding whether or not to pick up a film once it’s been made.

The long-running BBC Storyville is often cited as an exception, showing some of the best documentaries in every given year, either through acquisition or commission. But Storyville’s commissions are modest, and usually require filmmakers to find substantial funds elsewhere (a process which took a film I produced, Secrets of the Tribe, eight years to finish). Channel 4’s equivalent strand, True Stories, seems to be defunct, and while Channel 4 claims to be open to pitches for single films, it can’t be seen to be championing them in a way we should expect of our public service broadcasters.

Yes, there are a number of outstanding films in any given year on the BBC and Channel 4. Recent examples to name but two include last year’s The Paedophile Hunter on Channel 4, and the BBC’s The Age of Loneliness. But in my mind, with both the BBC and Channel 4 battling for their future in a nightmarishly hostile political climate, these few standouts should be magnified by a factor of ten. Imagine a world where the same budget put into producing twenty-four episodes of Masterchef is plowed into a new strand featuring fifteen documentary features, all by different directors. Yes, they are more difficult to make, and yes some might fail to attract large numbers of viewers. But aren’t two of the most important tenets of public service broadcasting that it supports risk-taking and programming not driven by the marketplace?

Many filmmakers these days persist in making their passion project, broadcast commission be damned. It can be a long and lonely, but ultimately gratifying route. Franny Armstrong makes it look easy. Her 2008 climate change doc The Age of Stupid was funded entirely through crowd-funding, raising an impressive £430,000. But Armstrong, in addition to being a consummate filmmaker and networker, benefited from another factor: she was the first to fund a documentary through crowdfunding. Many more have followed. Today it is a much more difficult, careworn option which involves a lot of targeting, attention to detail and maintenance. Crowdfunding can work for issue driven films that have a built-in following, but it’s certainly not easy.

Amir Amirani struck out trying to get broadcast interest in his film We Are Many – a forensic examination of the global anti war protest of February 2003. A film that would have taken him roughly a year had it been fully commissioned, instead took him eight. Along the way he maxed out his credit card, and remortgaged his house three times, before a Kickstarter campaignand the endorsement of high profile supporters like Stephen Fry and Omid Djalili began bringing in substantial funding. But the end result has been worth it for Amirani: We Are Many has played to rapturous audiences globally, and continues to screen frequently. But there are still no plans for a UK broadcast.

SONY DSC
Gene Cernan, The Last Man on the Moon, photo courtesy of Mark Craig

Mark Craig also went his own way having not initially succeeded with securing British interest in his film The Last Man on the Moon, about astronaut Gene Cernan. But as he told me when I interviewed him about the making of it, he eventually relished producing it with Mark Stewart Productions, without broadcaster input: “In TV there is a lot of guiding and steering and mentoring from the channel, from the execs, to make it fit the remit of that channel. You’re always serving the requirements of that channel, of that slot, the ad sales, etc., ” he said. “So it was very liberating to be free of that and just be faithful to the story, and the character and tell that story in the most interesting and engaging way that one could.” He’s enjoyed an extended festival run with the film, which is soon to be on limited release in the US.

Whilst still very modest compared to the US, there are a small number of funds that British filmmakers can tap into, particularly from foundations with explicit interests in the subject matter. The Wellcome Trust  supports films with a biomedical theme, such as the outstanding The Man Whose Mind Exploded. On a larger scale, BRITDOC operates as an energetic documentary enabler, supporting films in a number of ways, including partnering up filmmakers and NGOs, as well as helping fund more than 200 films in the ten years since its founding.

When I first moved to the UK from the US twenty years ago, the difference between how docs were made in each country was striking. The UK, with its fully funded commissioning system was seen as a utopia by envious American doc makers who usually had to spend years piecing together the budgets for each film. Now, with British television factual programming dominated by formats and presenter-led series, and with so many film-makers chasing so few slots, that gulf no longer seems so vast.

But there are reasons to be hopeful that the BBC will soon prioritise carving out new space for single documentaries. The much respected Patrick Holland is now Head of Documentaries, and speaks of  singles “as an essential part of what we do on BBC Two.” And with the announcement last week that doc champion Charlotte Moore now oversees the entirety of BBC television, now is the time to show that the production of feature length documentaries can and should be a priority for the world’s leading public service broadcaster.

This article first appeared at OpenDemocracy.net

 

From Grierson to Gogglebox: Teaching the Factual Spectrum

I’m just coming up for air after a bout of intensive lecturing. I teach a few different classes for American university students in London, but my favourite, semester after semester, is my documentaries class. It is here, in a deliberately darkened classroom near Holborn, that I share the highlights of twenty years immersed in the world of British documentary. We cover the whole factual spectrum, from independent feature documentaries to heavily formatted reality, and everything in between.

Usually, my students arrive having been exposed to roughly two kinds of factual fare: worthy subject based documentaries, like Ken Burns’ marathon series that their parents watch, or the far-from-real world of the Real Housewives or Kardashians. If I’m lucky these days, and frequently I am thanks to Netflix, they will have streamed a few American documentary features like Blackfish or Girl Model. They know Sherlock, and Doctor Who but have never heard of Louis Theroux or the term “fixed rig“. They are a blank slate when it comes to British factual, and I have fifteen weeks to make my mark.

I have to begin by introducing them to something else they have never heard of: Public Service Broadcasting. For while the BBC is in a perilous state at the moment, with no reprieve in sight, the PSB tradition it stems from is crucial to understanding just how the Brits got so great at making documentaries. I wrote my entire MA thesis on the topic. It’s important.

grierson
John Grierson

In class, after we look at the notion of public service broadcasting, and how it was extended with the creation of Channel 4 in the 80s (also, sadly, under threat), we turn to John Grierson, who coined the term documentary, defining it as the “creative of treatment of actuality”. We have a look at Grierson’s most famous sequence in his seminal film Night Mail, which shows the postal train rhythmically chugging north to Scotland, to words by W.H. Auden and music by Benjamin Britten:

We learn just how Grierson came to make propaganda films for the British government, by dipping into Britain Through A Lens: The Documentary Film Mob, made by the excellent Lambent Productions. It includes a clip from Grierson’s box office hit Drifters (1929), about the British herring trade. While I recognize I need to tread softly and not show Drifters in its entire, silent, black and white glory, my students were gratifyingly engrossed when I showed a modern take on deep sea fishing, Channel 4’s recent The Catch, a fixed rig series which was mesmerizing from start to finish.

After our crash course in PSB and Grierson, we look more in depth at contemporary examples of Grierson’s creative treatment of actuality, in its many guises. We explore the topic with the help of a specially curated Flipboard Magazine; I often ask students to use articles in it as a starting point for further research. We also hear from a number of leading filmmakers – Kim Longinotto, Brian Hill and Christopher Hird have all been recent guest lecturers.

As students gear up to make their own three minute film for a final project, it’s critical for them to see how a simple construct can make a powerful film. Marc Isaac’s beautifully made first film Lift – shot entirely in the elevator of a tower block in East London – is a great example.

the lift
Lift

While it would be a joy to spend our entire time looking at the work of talented British independent documentary makers, my charges are about to enter the real world and many are hoping for a career in television. So a large chunk of our time is spent looking at the world of formats, with the occasional help of the always entertaining Gogglebox and Charlie Brooker. My students are surprised to learn just how many of the American shows they watch are British formats made by British production companies. But our focus is not so much on this crossover as on those reality formats in the UK that traditionally haven’t had a hope in hell of appearing on mainstream US television. In the hopes of fostering transatlantic fertilisation, I spend a lot of time exploring the intersection of public service and reality, looking at how some UK production companies are doing both, in really interesting ways. For more on that, stay tuned…

Watch Now: Channel 4 Documentary Jewels

So I’ve heard from a fair number of people that they’d like more blogs about films they can actually watch *now* rather than new docs which could take an eternity to come to a small screen near your sofa. So, obligingly, here’s a few films that you can watch now (if you’re in the UK, that is…will follow up soon with a US Netlix post).

Channel 4’s factual archive hosts more than a few outstanding documentaries and is altogether more satisfying in its scope and range than the BBC online archive, including films from a number of the UK’s leading documentary makers. Here are a couple of my favorites:

The Day I Will Never Forget (Kim Longinotto, 2002)

thedayiwillneverforget

A classic from Kim Longinotto, this is a great introduction to her work. Here’ s my write-up on it for Sheffield Doc/Fest 2002:

Nine year old Fouzia stands in her finest white dress to recite her poem called “The Day I Will Never Forget.” But instead of a tale of a cherished holiday memory, she talks about her forced circumcision at her mother’s insistence. Kim Longinotto’s latest film demystifies the practice of female genital mutilation through engrossing stories of Kenyan women. As young girls like Fouzia cope with the painful aftermath of their trauma – and in the film’s most difficult scene we witness it firsthand – older women demonstrate how entrenched cultural beliefs can override the maternal instinct to protect. But times are changing. Nurse Fardhosa teaches hygiene to circumcisers in Nairobi, while quietly encouraging them to stop. And a group of runaway girls are seeking court action against their parents…Gripping devastating, but ultimately hopeful.

Here’s an interview I did with Kim when the film came out.

The Leader, His Driver and the Driver’s Wife (Nick Broofield, 1991)

the leader

Nick Broomfield’s dogged following of the South African white supremicist leader Eugene Terre’Blanche comes to a climax in one the most famous scenes from Broomfield’s impressive body of work. Deliberately showing up late for a long-requested interview, the tongue lashing Broomfield receives sheds more insight on Terre’Blanche than a tradtitional interview ever could. Funny and riveting in turns, this is Broomfield at his best.

Finally, be sure to check out From Russia with Cash (top picture above), which will be available on Channel 4 for a couple more weeks. Director Dan Reed sheds a long overdue light on just how easy it is to launder money through London’s property market. Secretly filming throughout, Reed sends actors posing as Russian government minister “Boris” and his trophy girlfriend to five top end properties, where estate agents eager to earn their hefty commissions prove all too willing to provide advice on how Boris can buy the property with what he clearly states is dodgy money. In the aftermath of the film’s broadcast last week, two investigations have been launched, as well as parliamentary questions. Reed is one of the most talented documentary makers working today – you can see several of his films on the Channel 4 archive including the multi award-winning The Paedophile Hunter and Terror in Moscow.

Docs on Screens is taking a summer hiatus – and a lengthy trip to the US. See you in the autumn, and thanks for reading if you have got this far!