Doc Corner: Rebecca Huntt’s 'Beba'

By Glenn Dunks

That Beba is the work of a first-time filmmaker is both immediately impressive and also quickly apparent. There’s a maturity here that belies Rebecca Huntt’s autobiographical documentary portrait. It’s something that leaps out from its opening moments as flickering 16mm photography plays over poignant narration. “Violence is in my D.N.A.”, she says. “I carry an ancient pain that I struggle to understand.” It’s powerful stuff, but as it progresses, Huntt’s film finds itself swaying in the wind despite the really great stuff at its core.

That maturity is often balanced by selfishness that renders itself with a film that is unfocused almost as if by design. Huntt is a messy, complicated person; something that this movie impresses upon the viewer frequently. Whether it’s as a result of her family or society—most likely a strong dash of both—is something that the movie attempts to grapple with.

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Doc Corner: 'The Janes' on HBO Max

By Glenn Dunks

If you were paying close enough attention to the ways the American political winds were blowing, you likely could have foreseen how relevant The Janes would ecome. Well, even more so than it already was. Still, even as recently as its Sundance premiere in January, it’s unlikely that filmmakers Tia Lessin (her first since 2013’s Citizen Koch) and Emma Pildes could have envisioned its release a mere few months late would coincide so frighteningly with the systematic dissolving of the rights their subjects were fighting for. Right in front of everybody’s eyes.

That The Janes is a film for this very moment isn’t what makes it so good. Although it helps...

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Doc Corner: Karim Ainouz's 'Mariner of the Mountains'

By Glenn Dunks

The journey from Africa to Europe has been seen many times on screen in both documentary and fiction. Mariner of the Mountains, now available on streaming after screening at last year's Cannes Film Festival, begins with a journey in the opposite direction. Far less common and shown here being committed in relative luxury compared to the dangerous refugee boats often equated with cross-continental Mediterranean journeys.

Director Karim Aïnouz is familiar to some audiences for his films like Invisible Life and Futuro Beach that span continents and the way we often go looking for something somewhere else and don’t find it. Or struggle to. Or aren’t sure what it was they were looking for at all...

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Doc Corner: The Hollywood history of 'Cane Fire'

By Glenn Dunks

A history of exploitation unfurls in Anthony Banua-Simon’s Cane Fire like the plot of a Hollywood movie. A deeply empathetic documentary, Cane Fire takes its title from a Lois Weber film, White Heat. That film, Weber’s last from 1934, is considered lost and survives only in images and fragments. As Banua-Simon shows, that is a lot like the non-white population of the island of Kaua’i, where it was filmed, who have been worked until their backs were broken by a series of industries that have crushed and sapped the non-white population like you would strip bare sugar cane.

First it was sugar cane and pineapples, then Hollywood who used locals as extras in bright and colourful productions starring big names like Elvis Presley and John Wayne. Today it’s tourism—an industry that has caused Hawaii more broadly to become the most expensive state to live in, something that is inceasingly out of grasp to many of the population who predominantly work as service staff at hotels and resorts. If you saw The White Lotus, then maybe you could consider this its darker companion piece...

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Doc Corner: 'The Territory' at EarthX Festival in Dallas

By Glenn Dunks

The 2022 EarthX Film Festival is four days of film, music and interactive environmental programs and events set in the heart of Dallas Arts District, May 12-15. We were able to watch a couple of the titles including big ticket Sundance winner The Territory as well as Tigre Gente.

The first thing to notice in The Territory (tickets here) is its beauty. Filming within the Amazon rainforest will do that, of course. As will having a cinematographer for a director. But Alex Pritz’s first feature documentary as a director very quickly transcends whatever lush imagery is immediately front and center, bursting quite early with rage at the situation its Indigenous subjects are being forced to endure. New images emerge, those of burning and destruction and greed as those who live independently defiantly take protection of their block of land into their own hands.

This is an environmental film set within an increasingly small patch that—as the film begins—is the land of the Uru-eu-wau-wau people, provided under rights agreements with the Brazilian government. But the impending election threatens this life of serenity when anti-environmental rhetoric from Jair Bolsonaro threatens to bring chainsaws, bulldozers and forest burning to this idyllic slice of paradise.

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