I‘m delighted that Boyhood is getting some awards love. It’s one of my favourite films of the decade – watching it a second time on a transatlantic flight it again held me spellbound for nearly three hours. Like most people, its appeal lies mostly in watching its subjects age over twelve years – in this case actor Ellar Coltrane’s wondrous journey from a six year-old boy to a young man.
This on screen time-lapse is a pleasure I first encountered twenty some years ago, discovering Michael Apted’s Up series, which famously has been following the same documentary subjects since they were seven years old. They are now nearly 60. If you haven’t seen any of it, get thee to youtube for a sample (you might then want to binge watch the box set). It’s funny, and sad, and thought-provoking, and shows how film can make even the most ordinary of lives compelling. No wonder it topped a Channel 4 list of the greatest documentaries ever made – and led Roger Ebert to call the films “an inspired, even noble, use of the film medium”.
In thirteen years of watching and writing about films for Sheffield Doc/Fest, I’ve seen scores of documentaries that travel back and forth in time in memorable ways. As most of us now have the potential to cut one together, thanks to the smartphone archive in our pocket, it’s worth paying attention to how footage shot over many years can be crafted into a work of art. Here’s a few of the best of the Doc/Fest films I’ve seen, together with my original write-up:
112 Weddings (Doug Block, 2014)
Despite being one of the U.S.’s most acclaimed documentary makers, Doug Block still needs his bread and butter work. For him, it’s weddings – in fact he’s filmed 112 of them over the last 20 years. In this engrossing doc he revisits some of the couples he has made wedding videos for, asking how they stay married – or didn’t, as the case may be. His long-standing relationship with his subjects fosters an easy intimacy and his follow-up interviews take on the veneer of a counselling session. The passage of time shines a torch on the many issues that can derail the happiest of couples, from mental illness to crying babies and infidelity, whilst Block’s wedding archive allows us to look back on their most optimistic of days. The film is funny, moving and often tragic – much like marriage itself.
We Went to War (Michael Grigsby, 2012)
In 1970, in the midst of a drawn out Vietnam War, a young British director Michael Grigsby made a film about three young veterans returning home. I Was a Soldier is an acclaimed classic – the first to depict the ravages of the war on soldiers considered to be home safe and sound. Forty years later, Grigsby and his co author Rebekah Tolley have made an equally powerful follow up, returning to Texas to see what has become of his three characters. In a visually arresting, contemplative style that suits the dusty small town locales, and creatively merges past and present, we learn just how much their war experience shaped their lives. Still unable to understand what they were fighting for, the scars run deep. Dennis has tried not to be defined by his experience, but is unable to form lasting attachments. It took 38 years for David to receive counselling, while Lamar’s journey back to normality, would prove to be one of the hardest battles of all.
Photographic Memory (Ross McElwee, 2011)
One of the masters of autobiographical filmmaking, American legend Ross McElwee returns to Doc/Fest with another film very close to his heart. Having long filmed his children, McElwee is dismayed to observe that his once sunny young son Adrian has grown into a grumpy and sullen young adult. He uses his many hours of footage to remember and mourn Adrian’s lost childhood, his ruminative voiceover reflecting the universal realities of parenting: “The young child – the one you loved so much – is still contained in the obnoxious teenager…Teenagers have no idea of how they’re protected from a smaller version of themselves that rises up to defend them.” McElwee decides to go in search of his own younger self, and heads to Brittany, where he once served as a wedding photographer’s assistant. Flitting back and forth between his past and his present, McElwee offers up another moving and memorable exploration of the human condition.
Hit So Hard: The Life & Near Death Story of Patty Schemel (P. David Ebersole, 2011)
Aware that her rock and roll lifestyle was yielding some crazy episodes, Patty Schemel picked up a video camera in the early 1990s. A rising star in the flourishing music scene of America’s Pacific Northwest, Schemel’s pals included Kurt Cobain and his wife Courtney Love, who hired her as the drummer for her band Hole. Capturing some extraordinary scenes, including Cobain and Love at home with their baby daughter, Schemel also recorded her own descent from playing sell-out world tours to destitute heroin addict, and her ultimate rehabilitation. The footage is interwoven with entertaining interviews with Schemel and Hole’s surviving members (their base player Kristen Pfaff died of an overdose just two months after Cobain’s suicide) and Schemel’s own family. “I couldn’t get over that she gave up a good job at Microsoft,” says her mom. With a pace as fast moving as the music, director P. David Ebersole’s film is destined to become a classic music doc on the joys and perils of life in the fast lane.
A Man’s Story (Varon Bonicos, 2010)
He’s neither white nor gay but somehow Ozwald Boateng has risen to the dizzying heights of British fashion. He was the first black tailor to have a business on Savile Row and the youngest to boot. A long line of A-list celebrities like Jamie Foxx and Paul Bettany sing his praises, while sporting his colourful suits. Director Varon Bonicos began filming Boateng in 1998, when his life was in tatters. A nasty divorce and the collapse of his business had left Boateng at a low ebb – not helped when his entire collection was stolen. Bonicos went on to follow the charismatic stylist over twelve years, as he was appointed Givenchy creative director, starred in his own American reality series and married a Russian model, a union made difficult by Boateng’s peripatetic, workaholic lifestyle. As stylish as the man himself, A Man’s Story is an enjoyable foray into the fashion industry through one of its most vibrant stars.
Position Among the Stars (Leonard Retel Helmrich, 2010)
Twelve years after setting off to explore his mother’s homeland, Dutch filmmaker Leonard Retel Helmrich completes his trilogy on three generations of Jakarta’s Shamsuddin family with the masterful ‘Position Among the Stars’. Family matriarch Rumidjah has returned from the countryside to rein in her granddaughter Tari – the entire family’s hopes are pinned on the girl to lift them out of the slums. Tari’s Uncle Bakti is finding her difficult to control and would rather be cultivating his fighting fish business, much to the annoyance of his wife. As always, the family’s everyday tribulations reflect the wider, rapidly changing Indonesian society. Far from ‘fly on the wall’ Helmrich’s constantly roving camera is always in the middle of the drama, often at ground level in scenes of astonishing intimacy. Well deserving of its major prizes, including the Special Grand Jury prize at Sundance, this is not to be missed.
The Kids Grow Up (Doug Block, 2009)
Director Doug Block has suffered from Empty Nest Syndrome for some time, and has been talking to friends and family about the traumas of having your children leave home. The thing is, his only child Lucy hasn’t gone yet, and she’s getting quite sick of Dad’s moping around after her with a camera. Anyone lucky enough to have caught Block’s last Doc/Fest outing, 51 Birch Street, will recognise his accomplished style of personal film making, with great use of family archive, and probing , funny conversations with those nearest and dearest to him. Block and his friends are the first of the new breed of dads totally involved in their children’s lives, rather than the detached providers that their own fathers were. Surrounded by images of his many filmed conversations with Lucy over the years, Block finds it difficult to be at peace with the rapid passage of time and can’t contemplate life without her at home, much to the annoyance of his sanguine wife Marjorie. A moving, intimate exploration of family life.
René (Helena Třeštíková, 2008)
A petty crime as a teenager earned Rene a prison sentence, and set him off on a life of crime. Misanthropic, intelligent and introspective, he spends his life in and out of prison, struggling to fit in anywhere in the quickly changing Czech Republic. Veteran film maker Helena Trestikova began filming Rene in 1989, and kept up with him over the next two decades, even after he robbed her flat. Their collaboration, and his brief fame as a documentary star, spur him to writing, and he becomes a published author. Yet the demons driving him remain. This engrossing film takes us on a journey of a life lived outside of society. As his rap sheet lengthens, his body tattoos multiply, a visual testimony to the anger fueling his blighted life. His letters to Trestikova and access to the many cells which he calls home enhance this must-see film.