Doc Corner: 'Allen v. Farrow' & 'Framing Britney Spears'

By Glenn Dunks

How do you go about making a film or a series about celebrity scandal let alone writing a review of those very projects? It’s difficult. It is virtually impossible to not bring one’s own history and baggage to a work like Allen v. Farrow or Framing Britney Spears. And then there are the works themselves, both of which confront subject matters that demand the audience assess—or re-assess—their own thoughts and responses to damaging events in the lives of the rich and famous that played as entertainment for the masses in less enlightened times of media representation.

Arguably the two biggest works of documentary to have arrived in the first quarter of 2021, I actually don’t think either of them really work. They sure are thorny works, though, that push the viewer into murky areas that need to be explored.

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Doc Corner: 'Tina' on HBO

By Glenn Dunks

Tina Turner does not like to talk about herself and her life with abusive ex-husband and artistic collaborator Ike Turner. She notes this in Tina, a new HBO documentary about her life. But she is aware that public interest in it, which is why she has to keep on telling us all about it. This is show business after all, and if she doesn’t, somebody else will. First it was People magazine. Then it was Kurt Loder’s I, Tina. That was followed by a film adaptation, What’s Love Got to Do With It?

One would have hoped that that film would have been the end of it for Turner, her story of abuse and late career triumph captured on film to great acclaim and with an Oscar-worthy performance by Angela Bassett. Nearly 30 years later, however, Tina is back as the subject of T.J. Martin and Daniel Lindsay’s documentary. Whatever the directors’ reasons for doing so, I am unsure. But for Turner herself at least, she has decided to take this opportunity to bid farewell to her fans and to (hopefully) put her story to bed.

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Doc Corner: 'A Glitch in the Matrix'

Doc Corner, by Glenn Dunks, is back after its brief hiatus.

Rodney Ascher makes extremely goofy documentaries. I am sure that he comes at them with all the seriousness that their dark and sinister tones would suggest, but that doesn’t stop them from ending up as, well, extremely goofy movies. There was Room 237 about interpretations of Stanley Kubrick’s The Shining. There was also The Nightmare, about sleep paralysis. Both goofy.

That doesn’t mean they’re not entertaining. In fact, that’s often their most commendable aspect. Lord knows, it certainly cannot be said that Ascher lacks imagination behind the camera and has an ability to gravitate towards subjects that demand more than a basic documentary toolkit to pull together...

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Doc Corner: The Best Documentaries of 2020

By Glenn Dunks

Before this column takes a few weeks break, it’s that time of the year to make lists! I have spent the last few weeks churning through screeners trying to ensure I saw enough of 2020’s documentary output to justify a list of the year’s best, although I do not have the time nor the inclination to watch 238 of the damn things! Nevertheless, below are 30 non-fiction titles (or non-fiction adjacent, but we’ll get to that later) that I believe are among the year’s best movies. I stuck to the 2020 calendar as much as possible because, like Nathaniel, I want to keep some order to it all.

If you were to sit down and watch every film below, you would be taken from rural towns in the heart of the Florida peninsula to rural towns in the heart of the Ukraine via the protests of Hong Kong and a nursing home in Chile. There are serious themes, important subjects, powerful ideas... and hand sanitizer.

There’s also a stripper named Nomi. Something for everything, I reckon...

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Doc Corner: '76 Days' and 'CoroNation' go inside Wuhan

By Glenn Dunks

Alex Gibney isn’t the only one who can crush a deadline and produce a documentary about COVID-19 in time for the new year. While Gibney’s Totally Under Control, made alongside (but appropriately socially distanced, of course) Ophelia Harutyunyan and Suzanne Hillinger, came out in October in an attempt to radicalise the American voters with tales of the then Trump-led American government’s inept response to the coronavirus outbreak. In doing so it already looks out of date.

Two other features, however, hone in more precisely on the pandemic’s beginnings in the city of Wuhan of the Hubei Province in the heart of China. Hao Wu and Weixu Chen’s 76 Days (made in collaboration with ‘Anonymous’) and Ai Weiwei’s CoroNation take different tacts with this setting, showing a city in chaos and alarming stillness at once.

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