Doc Corner: Revisiting 'The Loving Story'

For this weeks edition of Doc Corner we are celebrating the release of Jeff Nichols' Loving by looking back at the documentary that was quite clearly a heavy inspiration on it.

That Richard and Mildred Loving often got overlooked for their unwilling but necessary part in the civil rights movement is hardly surprising when you watch The Loving Story, Nancy Buiski’s sober and low-key documentary from 2011. The pair, quiet and dignified, do not make for the sort of protagonists that make traditional narratives – a comment that has come up throughout the festival release of Jeff Nichols’ feature adaptation. Theirs is a story of quiet suffering; their victory an almost anticlimactic ‘duh’ moment that it’s easy to see why it has taken so long to get films made about them.

But it is that very reserved nature that makes their story equally compelling. Mildred, especially, is a woman whose soft-spoken nature so often goes unseen by storytellers throughout moments of great historical upheaval. Buiski’s film doesn’t try to pad it out with flash and narrative diversions. Instead it lets the humanity of its story and the relevance of its themes permeate across wisely assembled talking heads (including the couple’s only surviving child, Peggy) and a treasure trove of fascinating archival footage, newsreels, and family photographs that makes up the bulk of the film’s short yet resourceful runtime.

The entire story of the Loving v Virginia case holds relevance today in the face of race and same-sex marriage. Their story is one of barbaric cruelty where they were subjected to being woken up in the middle of night with flashlights in their faces, their relationship opened up to the inspection and scrutiny of hate-filled bigots in positions of power.

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Doc Corner: Michael Moore Goes to 'Trumpland'

Michael Moore in Trumpland is a misnomer of a title. For despite the comically scored pro-Trump vox pop interviews that open the film, and despite the smattering of apparent Trump supporters through the audience, Michael Moore’s has found himself the most liberal of audiences one could hope. “Around here, I ain’t heard nobody for Clinton” says one unidentified woman, but if that were the case then the crowd Moore has amassed are easily swayed because by the end of this brief 70-minute mix of stand-up, pre-filmed comedy sketches, call and response, and personal recollections in monologue, the entire crowd is cheering and whooping for Hillary.

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Doc Corner: Ava DuVernay's '13th' is Essential

by Glenn Dunks

Sometimes to be a film-lover is to question why we indulge in certain films. It’s a question we have no doubt all asked ourselves at one point or another after a particularly gruelling film. It would have been so much easier to just let it slip passed us and be content within our bubble. It would be easy to see 13th, for instance, the new documentary from Selma and Middle of Nowhere director Ava DuVernay, on our Netflix screens and think that it is not for us – that because we already see the world through a lens of equality without racism that it is not necessary viewing, that it is just preaching to the converted. Why spend 100 minutes feeling as if the weight of misery is bearing down on us?

But 13th is an essential viewing for everybody. It is essential for you and for myself. Essential for Americans and those outside its borders. Essential most of all for white people and black people and everybody else. That its subject and themes still bear immediate relevance make it so. But DuVernay’s best achievement with the thorough and the soulfully searching 13th isn’t that it is just a wake-up call for race relations in America right at this very moment, but that her film will no doubt prove to be invaluable in the understanding of America’s history of racism for years to come.

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Doc Corner: American Crime Stories in 'Tower' and 'The Witness'

Consider this: half a century ago, among the first people in the modern history to be shot and killed by a mass gunman at an American school included a pregnant woman and her unborn baby, a Latino teenage delivery boy, and a father of six. These people and fourteen more were all victims of Charles Whitman who, after murdering his mother and his wife, took a collection of rifles and ammunition to the 27th floor of the main tower building at the University of Texas in Austin and for 96 minutes fired at anybody who moved on the ground below.

Now, consider this: after 49 years of guns being banned on campus, the state of Texas’ 2015 “open carry” laws mean anybody just like Whitman could walk onto the same space today that once saw so much blood spilled and who could argue? It seems absolutely baffling that the cite of what it known as America’s first mass school shooting is now going backwards in time along with the rest of the state (and the country?). How quickly some forget the people they pay lip service towards wanting to protect.

So it is appropriate then that Tower should come along to try and remind us of the tragedies of before and, however indirectly, the absurdities of today...

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Doc Corner: Netflix's Big Oscar Push

A flurry of documentaries are having their premieres on Netflix and in their own way serve as glowing examples of the positives and the negatives of the streaming platform. Netflix made an impression very early in their life as original content providers; the Academy’s documentary branch has already warmed to their productions and acquisitions. They deserved the statue for The Square in 2012 (losing to music doc 20 Feet from Stardom), and proved their keen eye (and deep pockets) were no fluke with subsequent nominations for Virunga (losing to Citizenfour), What Happened Miss Simone?, and Winter on Fire (both losing to music doc Amy) 

This year it’s entirely feasible to imagine an Oscar line-up with five Netflix titles. I can't imagine the doc branch ever letting that happen, but they have the product and it’s looking entirely possible they could finally win in a memorable and game-changing first. But what about the films themselves: Into the Inferno, Amanda Knox, and Audrie & Daisie?

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