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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Doc Corner: John Ford and the 'Midnight Cowboys'

By Glenn Charlie Dunks

“When in doubt, make a western.” – John Ford.

This quote stuck out to me in the opening of The Taking, the latest film about film from Swiss director Alexandre O. Philippe. Like ford, director John Schlesinger made a western himself after an early-career stumble. The films of John Ford and Schlesinger’s Midnight Cowboy aren’t linked too much; at least not on the surface. But with two new documentaries, they are given visual deep-dives that tie them together as logical ends of a spectrum that used images to sell America as a hard land or hard men.

Both Philippe’s The Taking and Nancy Buirski’s Desperate Souls, Dark City and the Legend of Midnight Cowboy err on the side of cinematic essays than traditional behind-the-scenes making-of documentaries. Each offer their subjects’ take on the (quote unquote) western as both of their time and in many ways timeless. I enjoyed them both.

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Doc Corner: The latest musician biographies

By Glenn Charlie Dunks

You’re a little bit damned if you do and a little bit damned if you don’t when it comes to musician bio-docs these days. They remain prolific, a cottage industry that is popular with audiences and easy choices for distributors and sales agents with a built-in audience. It makes sense that we get so many of them each year. And if you’re not inclined to watch so many of them, you may not be as burnt out on them as I appear to be. But—and I swear I’m not just being grumpy—are they actually getting worse, too? They certainly don’t seem to be getting any better, with most choosing to abandon any real directorial vision in favour of standard story beats.

Three recent examples all have strong elements, telling their subject’s life story in ways that I have no doubt will appeal to many fans, devoted or casual alike. But Love to Love You, Donna Summer; John Farnham: Finding the Voice and Fanny: The Right to Rock have all left me relatively cold despite the icons at their centre, plagued by frustrating tech choices and failing to reach the heights of the music that made their subjects famous in the first place.

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