Doc Corner: Sundance hit 'All Light, Everywhere'

By Glenn Dunks

For an essay film, it makes a lot of sense for All Light, Everywhere to be full of ideas. It’s been a long time since my essay writing days, but I generally think that a lot of ideas is a good place to start. But also like an essay, it could probably have used another go around the editing block. There are a lot of promising threads in Theo Anthony’s film, but the director of Rat Film can’t quite weave them together into something that transcends its (very smart in theory) concept.

In many ways, Anthony’s film comes across as a traditional documentary about the rise of technology in community policing—predominantly bodycams and surveillance drones. At least initially. This segment, the doc’s most prominent through-line, is often very interesting if maybe a little repetitive...

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Doc Corner: Jia Zhangke's 'Swimming Out Till the Sea Turns Blue'

By Glenn Dunks

Jia Zhangke is one of my favorite working directors. His dramatic features about contemporary Chinese life in the face of widespread modern upheavals are frequently works of masterful elegance. As rich in political and social context as they are well-acted and beautifully crafted. His works of non-fiction present something dramatically quieter; naturally a bit harder to engage with; like his 2007 garment factory doc Useless, modest and observational.

In many ways, his latest film shares that lack of narrative flare. Something that no doubt added to its quieter festival reception in 2020. But Swimming Out Till the Sea Turns Blue nonetheless has something of a keener eye and so, even when the importance of its subjects may be lost on a western audience, it finds burrows of ideas that flourish through a veil of unexpected stylistic choices.

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Doc Corner: Alex Gibney's 'The Crime of the Century'

By Glenn Dunks

Hey look, Alex Gibney is back! It was only last October that the prolific American filmmaker was releasing his rush-produced COVID-19 documentary, Totally Under Control, in time for the U.S. elections. Now he has a two-part HBO documentary about America’s opioid epidemic and its origins in crime. It's boldly titled The Crime of the Century. Given what we see unfold, and with 500,000 dead since 2000, that title is somewhat apt.

Naturally, it all comes down to capitalistic greed. You probably didn’t need me—or Gibney for that matter—to tell you that. But it does bear repeating. And over its four-hour runtime there are certainly plenty of opportunities to do so...

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Doc Corner: Raoul Peck's brilliant 'Exterminate All the Brutes'

By Glenn Dunks

I suppose I could beat around the bush. I could skirt around the issue and try to temper my praise, worrying that people could accuse me of mere hyperbole. But what’s the point? Instead, I will just say it: Raoul Peck’s new four-part HBO documentary miniseries, Exterminate All the Brutes, is one of the finest works of art I have ever had the privilege to watch. A soaring epic that takes viewers on a journey over thousands of years—at one point to even the dawn of man—through humanity’s worst impulses for racial supremacy and colonial barbarism.

Peck pilfers from cinema (classic and otherwise), paintings, photography, music, archival footage, and adds dioramas, animation, graphic aids, anachronistic diversions, and dramatic interpretations. He rips a fierce and violent tear through history, yet with the precision and delicacy of a surgeon with a scalpel...

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Doc Corner: 'Wojnarowicz: F*** You F*ggot F**ker'

by Glenn Dunks

I briefly mentioned Chris McKim’s artist bio-doc Wojnarowicz: F*** You F*ggot F**ker (their grammar, not mine) earlier this year as one of the best unreleased documentaries that I saw in 2020. Voila, here we are, and this incredibly vibrant film is now out in the world. Big, boldly stylized and defiantly queer; it’s a documentary about an artist that, for once, feels truly in sync with its subject’s style. “I’m not gay as in ‘I love you’, I’m queer as in fuck off!” If it was one of last year’s best unreleased films, so now it is one of this year’s best films. I love it.

And perhaps part of what makes McKim’s film so interesting from the very start is that David Wojnarowicz is not an artist whose work and life has been excessively covered in film. (Keith Haring and Jean-Michel Basquiat, as brilliant as they were, could probably stand to sit the next few years out if you know what I mean)

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