"Oh, a moving painting. But with sound."

I was painting a painting about four foot square. It was mostly black but it had some green plant and leaves coming out of the black. And I was sitting back, probably taking a smoke, looking at it and from the painting, I heard a wind and the green started moving. And I thought, 'Oh, a moving painting. But with sound.' And that idea stuck in my head, a moving painting.

David Lynch on discovering his calling at art school in Philadelphia in David Lynch - The Art Life (2016) currently streaming on HBOMax

Doc Corner: Todd Haynes and 'The Velvet Underground'

By Glenn Dunks

It feels like something of a miracle that The Velvet Underground is as good as it is. Music bio-docs are hardly the most invigorating brand of documentary these days, and the story of this band and their Factory adjacent avant-garde artworld has been told many, many times before. So much so that Andy Warhol, the emperor of this New York underground art scene, would have probably been impressed by the assembly line of documentaries that emerged about him and his assorted acolytes, hangers-on, and affiliated artists whose fame (and/or infamy) are directly tied to him.

That Todd Haynes has made a great movie out of this all is hardly a surprise, though. After all, he is the man behind the 1998 glam rock opera Velvet Goldmine. Having said that, the recent milieu within which he has been working in Dark Waters and Wonderstruck hardly signposted that he had something so frenetically electric in him. If we never get another documentary about The Velvet Underground then it probably wouldn’t matter because we have this.

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Doc Corner: Emily Cohen Ibañez’s 'Fruits of Labor'

By Glenn Dunks

A movie like Emily Cohen Ibañez’s Fruits of Labor doesn’t need to explicitly say the quiet part out loud. But it does anyway. In its early moments, sitting side-by-side are a scene of a second-generation teenage child of immigrants working to help feed her family by picking strawberries in the Californian morning sun followed by a scene of that same child, a high school senior, in class listening to her teaching discuss ‘working the fields’ and the class/social inequalities that come from this poorly-paid, but essential work.

Furthermore, one doesn’t need to extrapolate very much to see the unavoidable illusions to modern day slavery as Ashley Solis lives in a house where up to 12 families share living spaces and one single bathroom.

It’s not surprising that Oakland-born director Ibañez of Colombian heritage has a history in anthropology. She shows an obvious flare in observing the Solis family, sometimes in uncomfortable close-up. It’s also not surprising that this is only her second feature, following on from her 2015 documentary Bodies at War.

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Doc Corner: 'Civil War (or, Who Do We Think We Are)'

By Glenn Dunks

A movie called “Civil War” could really be about so many things. I immediately assumed a film about January’s insurrection had been produced, edited and released in just nine months’ time. What an achievement! It’s a surprise then to discover that Civil War (or, Who Do We Think We Are) is about the actual civil war. The one about the North versus the South. The one about slavery (depending on who you ask). The one they made Gone With the Wind about. It’s almost quaint in that regard.

No matter what it is or it isn’t about— the contemporary political space may not be the film's focus but its heavily on its mind --  it’s a good movie. Civil War finds interesting crevices within which to explore education and class-driven divides and the way the war's lessons are taught and absorbed by the next generations. Spoiler alert: it’s not entirely comforting...

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(Not Quite a) Doc Corner: St. Vincent in 'The Nowhere Inn'

By Glenn Dunks

The Nowhere Inn is not a documentary, but it is about documentary. It’s also an absolute hoot. A gonzo existential cinematic experiment that plays a little bit like if Christopher Guest melded with the world of Kirsten Johnston. It’s a movie that one could play alongside David Lynch’s Mulholland Drive and surely not-so-coincidentally hums along to a very similar tune.

Maybe most importantly, it is a movie that asks, ‘What happens when you go to make a documentary about a rock star, but your rock star turns out to be boring?’

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