By C.J. Hirschfield
Some of the best documentaries have had to shift direction after filming began, based on changed circumstances that must be included. Life happens, and able filmmakers pivot, and re-think the narrative to match a new—and often more compelling–reality.
By C.J. Hirschfield
There is no doubt that the story of octogenarian Italian photojournalist Letizia Battaglia is an interesting one. A talented artist/activist/elected official/ iconoclast who has experienced spousal abuse, sexual discrimination, and many long affairs with much younger men, she has for decades documented the atrocities of the Mafia in her home town of Palermo, Sicily.
by C.J. Hirschfield
The new Netflix documentary Fire in Paradise was planned for release near the one-year anniversary of the Camp Fire in Butte County, the country’s deadliest wildfire in over a century. The fire killed 85 people in the town of Paradise. As the film’s November 1st release date approached, Oakland-based co-director Drea Cooper recalls feeling good that the 2019 fire season was not as bad as last year. But by the time the actual date arrived, the entire state of California had endured three weeks of flames, and causing millions of people to be without power–including Drea and his family. “Surreal,” is how he puts it. Surreal, but as the film suggests, also the new normal.
An excerpt by Michael Benson
My own lifelong engagement with 2001 started in the spring of 1968 at the age of six. My mom, a confirmed Clarke fan, took me to an afternoon matinee within weeks of the film’s premiere. Whether it was in Washington (where we then lived) or New York (as I remember it) is unclear. While I was already excited by the jump into space as then best represented by the Apollo program—which had already launched two of its towering Saturn V Moon rockets on unmanned test flights—it was no preparation for my first exposure to such a powerfully ambiguous, visually stunning work.
A two-part exoneration by Anastasia Lin
including conversation snippets with Don Malcolm
- JUST WHAT IS HE DOING TO US THIS TIME?
Is there such a “thing” as “too much of a good thing?” Devotees (and I use that term, er, charitably) of internet porn might disagree, but even cinephiles (who also like to watch…) may feel that the inestimable Don Malcolm, he of the flashlight and the Lost Continent, just might have had his pith helmet too tightly affixed with his latest Roxie extravaganza: a 20-film collection of forgotten French film noir that moth-flames the 1950s with a heightened level of relentlessness. Continue reading