Doc Corner: 'Last Stop Larrimah' and 'Mister Organ' are a return to true crime

By Glenn Charlie Dunks

The popularity of true crime as a subgenre appears to have subsided dramatically in the last couple of years. Following the boom times, it seems following the uber-success of Tiger King, the film, television and podcasting staple has receded somewhat from public consciousness. Although there is no shortage of new titles littering the catalogues of streaming services week on week, two new titles with antipodean links feel like a modest but successful return to the spotlight.

Speaking of Tiger King, the first of these two films is one that appears to very much takes some inspiration from that Floridian nightmare. It does it better, though, I would say.

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TIFF '23: "The Boy and the Heron" goes into the unknown

by Cláudio Alves

Miyazaki's "The Boy and the Heron"

Hayao Miyazaki's last last picture before his latest last picture – already being discredited as such by Studio Ghibli VP Junichi Nishioka – saw him take on the model of a relatively conventional biopic. Despite its wavering between reality and dream, the now and the before, The Wind Rises represented one of the director's most straightforward efforts, doing away with the fantasy elements that defined most of his career. Had it stayed his swan song, it would have made for a career's closing chapter shaped like an intersection of culminating obsessions and stylistic disruption. The Boy and the Heron, previously known as How Do You Live?, posits a inversion of those paradigms. Oft-repeated ideas are invoked only to be collapsed, while tone and style return to the land of fantasy and dream logic.

Before reading ahead, A WARNING. This film will probably be best enjoyed by those who go into it blind, similarly to how Japanese audiences received it. If you want that experience, be satiated in the knowledge this is another masterpiece by Miyazaki. If you yearn for more, come with me down to a place that's no place within a time without time…

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Doc Corner: Claire Simon's 'Our Body'

By Glenn Charlie Dunks

It isn’t too common for subjects in observational documentaries to turn to the camera and say, “I love cinema.” It’s even less common for this to happen as the subject in question lays on a medical table ready to be pulled under by anaesthesia and be operated on. None of the many, many subjects filmed by director and cinematographer Claire Simon in her new film Our Body (Notre corps) seem to mind all that much that a camera is gazed upon them in trying times. Filming through the gynaecological ward of a hospital in her home of France, her subjects often bare their souls as well as their flesh in the pursuit of landing upon something remarkably humane.

This is why I love cinema, and especially documentaries.

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Doc Corner: 'Lakota Nation Vs. United States'

By Glenn Charlie Dunks

If you ask me (and if you’re here, I would hope you hold my opinion in some sort of esteem), the best work of documentary so far this decade has been Raoul Peck’s four-part Exterminate All The Brutes from 2021. An epic feat of production, it brought a cinematic lens to a HBO doc-series that unflinchingly charted a history of white possession and genocide. I am hardly surprised it won a Peabody Award, but couldn’t make traction with mainstream awards bodies. Its content was tough, not made any easier as a viewing experience by the blunt-force storytelling of Peck that, maybe, people didn't expect from a multi-part doc series.

I bring this up to introduce Lakota Nation Vs. United States for a few reasons. For starters, they share an interest (if you can call it that) in the atrocities committed against Indigenous populations. It’s also very well made; beautifully shot and carefully edited with keen precision. A history book slicing a papercut into the viewer’s fingertip.

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Doc Corner: 'Taylor Mac’s 24-Decade History of Popular Music'

By Glenn Charlie Dunks

It’s rather fitting to have watched Taylor Mac’s 24-Decade History of Popular Music at the tail end of pride month as LGBTQ+ rights are yet again being politicised and stripped while its community are demonised. Queer people of various sorts have existed for more than 24 decades, obviously. But in his massive theatrical undertaking, playwright and performance artist Taylor Mac integrates his own queer sense of self into American history.

Through song, spoken word, and flamboyant theatricality, he tells the sort of the United States of America, using music to celebrate all kinds of humanity and asking us as an audience to see ourselves and our struggles across time...

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