Film
Director David Charles Rodrigues incorporates this wealth of material, a superflux of images generated by Genesis P-Orridge and the various artistic enterprises s/he founded, with concision and insight. The life and work of his subject is chronicled over the course of a lucid and kaleidoscopic 100 minutes.
Sitting in my bedroom, viewing a screener copy of “Dream Team”, my initial bewilderment eventually curdled into boredom.
Documentaries on George Michael, Janis Ian, and Jackie Shane look at musicians who grappled with the fear and consequences of expressing their true identities.
In director Steve McQueen’s “Blitz”, chaos can be a scary but exciting adventure, as tragedy and trauma mingle with the magic of a fairy tale.
Memory – elusive and essential, tormenting and inescapable – serves as a theme for several of the documentaries in this year’s BJFF.
For its 10th anniversary, the Boston Globe’s documentary festival expanded its cinematic field to a wide variety of genres and subjects.
Filled with B-movie puppet antics, “Frankie Freako” is a joyous throwback to the days where you could walk into a video store and rent one of a dozen Gremlins rip-offs about someone’s mundane suburban life being upended by a bunch of little guys.
“I still pinch myself that I got to work with Clint Eastwood. But any anxiety quickly dissipated upon meeting him. He is so cool and calm and funny and easy.”
A corrupt media lies at the core of “The Seed of the Sacred Fig”‘s powerful condemnation of Iran’s politics, particularly their treatment of women, often in unexpected ways.
To his credit, Mark Cousins does provide some insights into Alfred Hitchcock’s motifs and obsessions, from doors to staircases to creepy, dank interiors crammed with gizmos, gewgaws, and cobwebs.
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