NYFF: Faces Places

by Murtada

Agnes Varda, recently named one of 2017's Honorary Oscar recipients, retuns to cinemas very soon. Her latest documentary is Faces Places or Visages Villages - sounds more delicious in French, n'est pas? It's Varda's collaboration with visual artist JR to celebrate the power of images. For that it was the perfect confection to see first at NYFF. The two artists set out on a journey inside France, finding farmers, miners, dock workers and others to document and preserve in the places in which they reside and work. They don’t have a plan, they just go where luck takes them or as Varda puts it:

Chance has always been my best assistant.

Varda and JR operate their own separate cameras, but they were also recorded in their travels by multiple other cameras in both still and moving images. What we get is a delightful mix of the histories and stories of the people they meet, JR’s eccentricities (he never takes off his small rounded sunglasses), plus Varda’s grapple with her mortality (she’s 88 and has problems with her eyesight). A joy from start to finish. It’s worth the price of admission just for recreating the running in the Louvre scene from Godard’s Bande A Part (1964), with Varda’s age adding poignancy and exuberance.

Grade: B+

Faces Places screens at the New York Film Festival on October 1st and 2nd. It will be out in limited release on October 6th. On November 11th, she will be awarded the Honorary Oscar at the annual Governor's Awards in Los Angeles.

Doc Corner: Tribeca's Big Winner, 'Bobbi Jene'

by Glenn Dunks

Who is worthy of a documentary about themselves is a question that comes up a lot when watching and occasionally writing about documentaries. A long life doesn’t necessarily make you any worthier of one, just as youth doesn’t imply unworthiness. Of course, who is a worthy subject is ultimately in the eye of the beholder so to speak and it is the film itself is what should be judged.

I am sure there was a reason that director Elvira Lind chose to follow Bobbi Jene Smith for a documentary. Beyond ‘she’s a great dancer’, of course...

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Doc Corner: Emmy Awards Go to Meryl Streep, Ava DuVernay, and Somebody Close to an EGOT

Like sand through the hourglass, the Emmys gave out far too many trophies. I actually forgot that the television Academy’s ‘you’re not famous enough’ ceremony was on last weekend – because who wants to see RuPaul win an Emmy? Hello, anybody? Good call, Emmy! – and so my planned pre-Emmy focus on some of the documentary/non-fiction titles proved poorly timed. However, I thought we might look through the winners of the unfairly forgotten ceremony since at least in these categories, the voters are often forced to choose new winners every year. Meanwhile, the televised telecast could be a repeat and, truly, would anybody actually notice?

O.J.: Made in America, Meryl Streep, and which winner is just a Tony away from en EGOT after the jump.

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Doc Corner: 'House of Z'

Fashion documentaries have been going downhill ever since Unzipped. Douglas Keeve’s 1995 portrait of Isaac Mizrahi, a box office smash and critical hit, remains the pinnacle of what so many since have attempted. Like Madonna: Truth or Dare, from which it took much inspiration, that riotously funny glimpse into Mizrahi’s world full of design, famous friends, creativity and wickedly self-depreciating neurosis was a perfect storm of sorts between personality, fashion and celebrity that a film about this sort of person ought to be.  

Every year brings us several of these sorts of documentaries. Like the majority of them, Sandy Chronopoulos’ debut feature, House of Z, is easily digestible and barely raises a sweat; a work of celebrity portraiture that fans won’t regret watching, but which offers little beyond what is promised on the tin. Taking the same narrative hook as Unzipped of a talented young designer’s comeback from the precipice of total failure, House of Z is an act of personality redemption for a man whose career nearly fell apart because of his outlandishness and brattish behaviour. This makes it a humble film in many ways, one that deliberately chooses to show its subject as one appreciative of his position.

That also means that it is a humourless one, too; sapped of the fun and the outrageousness and the glamour that should be natural.I can only imagine how fun this film may have been half a decade ago.

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"78/52" Trailer teases method behind madness of Hitchcock's "Psycho"

by Daniel Crooke

Arriving just in time to slice and dice screens during the Halloween season comes Alexandre O. Phillipe's documentary 78/52, named after the 78 shots and 52 cuts that comprise the primal terror of Psycho’s infamous shower scene. A frame-by-frame deconstruction of the sequence, the myth, and the way it changed moviegoing culture forever, 78/52 debuted to warm reviews at Sundance earlier this year and will no doubt be a sweet seasonal treat for fans of Alfred Hitchcock, legacy horror, and the precise construction that goes into the craft of filmmaking.

Aficionados and genre experts such as Guillermo del Toro, Jamie Lee Curtis, Karyn Kusama, and Danny Elfman provide their own insights in the documentary...

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