7.8
The final film from the late, beloved Agnès Varda is a characteristically playful, profound, and personal summation of the director’s own brilliant career. At once impish and wise, Varda acts as our spirit guide on a free-associative tour through her six-decade artistic journey, shedding new light on her films, photography, and recent installation works while offering her one-of-a-kind reflections on everything from filmmaking to feminism to aging. Suffused with the people, places, and things she loved—Jacques Demy, cats, colors, beaches, heart-shaped potatoes—the wonderfully idiosyncratic work of imaginative autobiography VARDA BY AGNÈS is a warmly human, touchingly bittersweet parting gift from one of cinema’s most luminous talents.
7.9
Sam Harkness was fourteen years old when his mother, Jois, abruptly disappeared. Tracking cryptic clues of her whereabouts years later, Sam and his half brother—director Reed Harkness, who has been making short films with Sam since childhood—head out on a West Coast road trip to try to find her. But solving the mystery of Jois’s disappearance is only the beginning. What unfolds is a remarkable emotional journey that gradually reveals the ripple effects of trauma across generations of the Harkness family. Stitching together twenty-five years of home movies and filling the gaps in the archive with play, SAM NOW is a vibrant mosaic of love, longing, and loss, as well as a deeply empathetic attempt at healing.
7.9
Made over the course of ten years, this epic work of activist cinema joins the citizens of Sennan, Osaka, as they embark on an unprecedented uphill legal battle to receive reparations from the government for exposing their community to the deadly toxins of the city’s asbestos factories. Through wrenching interviews with the victims whose lives have been shattered by the agonizing effects of asbestosis, SENNAN ASBESTOS DISASTER paints a damning portrait of how decades of negligence exacted a devastating human toll while revealing the ways in which the tragedy is deeply entwined with issues of class and anti-Korean discrimination. It’s also a galvanizing look at the power of collective action and what happens when ordinary people take on their own government—going up against an unfeeling, often maddeningly slow-moving bureaucracy in their unceasing fight for justice.
7.9
Michael Glawogger’s startling, unflinching look at some of the world’s most dangerous jobs is an eye-opening confrontation with the kind of backbreaking, life-threatening labor that is often rendered invisible. Shooting amid the harsh conditions of volcanic sulfur mines in Indonesia, a ship-breaking yard in Pakistan, a Nigerian butcher’s market, a Chinese steel mill, and beyond, Glawogger captures images of overwhelming, sometimes almost apocalyptic power set to an entrancing score by John Zorn.
7.9
Filmed over the course of more than ten years, from 1987 to 1998, INSTRUMENT is director Jem Cohen’s visceral, fittingly unconventional portrait of legendary DC punk band Fugazi from their origins through their electrifying prime. Capturing the blistering intensity of their live shows, intimate moments backstage and in the studio, and interviews with members including frontmen Ian MacKaye and Guy Picciotto, the film sheds light on an often enigmatic band whose unwavering commitment to their independent, anticorporate ideals—forgoing money and mainstream fame in favor of accessibility and activism—continues to inspire the DIY underground.
7.9
UMBRELLAS takes a poignant, in-depth look at the concept and realization of Christo and Jeanne-Claude’s project “Umbrellas.” The film presents the artists at their most triumphant and most vulnerable moments—from the exaltation of the project’s opening day through unexpected tragedies at the end.
7.9
For nearly five years, acclaimed German filmmaker Werner Herzog desperately tried to complete one of the most ambitious and difficult films of his career, FITZCARRALDO, the story of one man’s attempt to build an opera house deep in the Amazon jungle. Documentary filmmaker Les Blank captured the unfolding of this production, made more perilous by Herzog’s determination to shoot the most daunting scenes without models or special effects, including a sequence requiring hundreds of native Indians to pull a full-size, 320-ton steamship over a small mountain. The result is an extraordinary document of the filmmaking process and a unique look into the single-minded mission of one of cinema’s most fearless directors.
7.9
Redding, a venerable star of Memphis’s Stax record label, seduced the "love crowd" in one of his best, and last, performances. SHAKE! OTIS AT MONTEREY, feature the entire set of this legendary musician, a performance that has entered rock-and-roll mythology.
7.9
On a beautiful June weekend in 1967, at the beginning of the Summer of Love, the Monterey International Pop Festival roared forward, capturing a decade’s spirit and ushering in a new era of rock and roll. Monterey featured career-making performances by Jimi Hendrix, Janis Joplin, and Otis Redding, but they were just a few of the performers in a wildly diverse lineup that included Simon and Garfunkel, the Mamas and the Papas, the Who, the Byrds, Hugh Masekela, and the extraordinary Ravi Shankar. With his characteristic vérité style—and a camera crew that included the likes of Albert Maysles and Richard Leacock—D. A. Pennebaker captured it all, immortalizing moments that have become legend: Pete Townshend smashing his guitar, Jimi Hendrix burning his, Mama Cass watching Janis Joplin’s performance in awe.
7.7
Trickery. Deceit. Magic. In F FOR FAKE, a free-form sort-of documentary by Orson Welles, the legendary filmmaker (and self-described charlatan) gleefully reengages with the central preoccupation of his career: the tenuous lines between illusion and truth, art and lies. Beginning with portraits of the world-renowned art forger Elmyr de Hory and his equally devious biographer, Clifford Irving, Welles embarks on a dizzying journey that simultaneously exposes and revels in fakery and fakers of all stripes, not the least of whom is Welles himself. Charming and inventive, F FOR FAKE is an inspired prank and a clever examination of the essential duplicity of cinema.
7.8
Timely, intimate, and deeply empathetic, OUR BODY observes the everyday operations of the gynecological ward in a public hospital in Paris. In the process, veteran documentarian Claire Simon questions what it means to live in a woman’s body, filming the diversity, singularity, and beauty of patients at all stages of life. We see cancer screenings and fertility appointments, a teenager dealing with an unwanted pregnancy, a trans woman considering the beginnings of menopause. The specific fears, desires, and struggles of these individuals illuminate the health challenges we all face—even, as it comes to pass, the filmmaker herself.
7.7
Drawing on the Arab tradition of “The Thousand and One Nights,” LEILA AND THE WOLVES combines fictional drama, archival footage, fantasy sequences, mosaic pattern, and more to counter the colonial, male-dominated version of history. Leila (Nabila Zeitouni), a Lebanese woman living in London, travels across time and space to explore the collective memory of Arab women in Palestine and Lebanon and their hidden roles in historical events.
7.8
Italian-cinema icon Marcello Mastroianni starred in more than a hundred films over the course of his astonishing, half-century career, though he will perhaps always be best remembered for the six masterpieces he made with Federico Fellini, who cast the actor as his on-screen alter ego in international sensations like LA DOLCE VITA and 8½. In this sprawling documentary directed by Mastroianni’s longtime partner Anna Maria Tatò, the actor tells the story of his life with philosophical humility and sly wit, offering candid insight into the man behind the dashing image.
7.8
Working in collaboration with veteran filmmaker Spencer Nakasako, Sokly Ny (a.k.a. “Don Bonus”), an eighteen-year-old Cambodian refugee growing up in public housing in the San Francisco Bay Area, documents his senior year of high school. What he captures, in intimate, diaristic camcorder footage, is a raw, personal portrait of everyday struggle and survival marked by a host of familial, economic, and academic challenges, offering a candid look at what it means to come of age as a young immigrant in America.
7.8
In Abbas Kiarostami’s second documentary feature about education, the filmmaker himself asks the questions, probing a succession of invariably cute first- and second-graders about their home situations and the schoolwork they must do there. It emerges that many parents are illiterate. Tellingly, many kids can define punishment (the corporal variety seems common) but not encouragement.
7.8
Les Blank returned time again to the world of Louisiana’s Cajun and Creole communities, and this exuberant documentary may be his definitive account of the history of Cajun and Zydeco music. Tracing the origins of the style and its enduring vitality through renowned musicians like Michael Doucet and BeauSoleil, Clifton Chenier, Marc and Ann Savoy, D. L. Menard, and others, I WENT TO THE DANCE is a bighearted tribute to a singular subculture and the people who keep its traditions alive.
7.8
The only film directed by trailblazing feminist Iranian poet Forough Farrokhzad finds unexpected grace where few would think to look: a leper colony whose inhabitants live, worship, learn, play, and celebrate in a self-contained community cut off from the rest of the world. Through ruminative voiceover narration drawn from the Old Testament, the Koran, and the filmmaker’s own poetry and unflinching images that refuse to look away from physical difference, Farrokhzad creates a profoundly empathetic portrait of those cast off by society—a face-to-face encounter with the humanity behind the disease. A key forerunner of the Iranian New Wave, THE HOUSE IS BLACK is a triumph of transcendent lyricism from a visionary artist whose influence is only beginning to be fully appreciated.
7.8
A spectacle of magnificent proportions and remarkable intimacy, Kon Ichikawa’s TOKYO OLYMPIAD remains one of the greatest films ever made about sports. Supervising a vast team of technicians using scores of cameras, Ichikawa captured the 1964 Summer Games in Tokyo in glorious widescreen images, using cutting-edge telephoto lenses and exquisite slow motion to create lyrical, idiosyncratic poetry from the athletic drama surging all around him. Drawn equally to the psychology of losers and winners—including the legendary Ethiopian marathoner Abebe Bikila, who receives the film’s most exalted tribute—Ichikawa captures the triumph, passion, and suffering of competition with a singular humanistic vision, and in doing so effected a transformative influence on the art of documentary filmmaking.
7.8
The year is 1961 and Ingmar Bergman is making a movie. While planted on the scene as apprentice to Bergman, Vilgot Sjöman (director, I AM CURIOUS–YELLOW, 1967), and a crew from Swedish Television begin to capture what would become a comprehensive five-part documentary on the making of WINTER LIGHT.
7.6
Traveling from the streets of Havana to the stage of Carnegie Hall, this revelatory documentary captures a forgotten generation of Cuba’s brightest musical talents as they enjoy an unexpected encounter with world fame. The veteran vocalists and instrumentalists collaborated with American guitarist and roots-music champion Ry Cooder to form the Buena Vista Social Club, playing a jazz-inflected mix of cha-cha, mambo, bolero, and other traditional Latin American styles, and recording an album that won a Grammy and made them an international phenomenon. In the wake of this success, director Wim Wenders filmed the ensemble’s members—including golden-voiced Ibrahim Ferrer and piano virtuoso Rubén González—in a series of illuminating interviews and live performances. The result is one of the most beloved documentaries of the 1990s, and an infectious ode to a neglected corner of Cuba’s prerevolutionary heritage.
7.6
Grave robbing, torture, possessed nuns, and a satanic Sabbath: Benjamin Christensen’s legendary silent film uses a series of dramatic vignettes to explore the scientific hypothesis that the witches of the Middle Ages and early modern era suffered from the same ills as psychiatric patients diagnosed with hysteria in the film's own time. Far from a dry dissertation on the topic, the film itself is a witches’ brew of the scary, the gross, and the darkly humorous. Christensen’s mix-and-match approach to genre anticipates gothic horror, documentary re-creation, and the essay film, making for an experience unlike anything else in the history of cinema.
7.7
Agnès Varda’s extraordinary late-career renaissance began with this wonderfully idiosyncratic, self-reflexive documentary in which the French cinema icon explores the world of modern-day gleaners: those living on the margins who survive by foraging for what society throws away. Embracing the intimacy and freedom of digital filmmaking, Varda posits herself as a kind of gleaner of images and ideas, one whose generous, expansive vision makes room for ruminations on everything from aging to the birth of cinema to the beauty of heart-shaped potatoes. By turns playful, philosophical, and subtly political, THE GLEANERS AND I is a warmly human reflection on the contradictions of our consumerist world from an artist who, like her subjects, finds unexpected richness where few think to look.
7.5
The final film by renowned director and cinema historian Peter Bogdanovich is an affectionate, illuminating celebration of the life, career, and artistry of pioneering filmmaker and comedian Buster Keaton, whose ambition, daring, and technical innovation made him one of the great visionaries of the silent era. Featuring interviews with legends like Mel Brooks, Quentin Tarantino, and Werner Herzog and vividly illustrated with a wealth of archival footage, THE GREAT BUSTER is an essential introduction to a singularly influential artist whose work continues to astonish and thrill.
