In Jennifer M. Kroot’s warm and deeply affectionate film, Armistead Maupin tells his story in his own words. Friends and colleagues including Neil Gaiman, Laura Linney, Olympia Dukakis, Sir Ian McKellen and Amy Tan weigh in, but Armistead needs little help. A natural born raconteur, he talks about his first sexual experience, and then bursts into the torchy standard, “Is That All There Is?”
Director Salome Jashi plays with the idea of perception in this enlightening film about contemporary Georgian life. The town folk in the interviews, as well as the journalists themselves, are acutely aware of how they are perceived. This often results in delicately painful conversations about just what aspects of the community, and its inhabitants, should be displayed, and what content is best left out.
From the opening guitar thunder of Link Wray’s smash hit, you know you are in for a wild ride. Directors Catherine Bainbridge (Reel Injun) and Alfonso Maiorana have assembled a veritable who’s who in the music business, from Tony Bennett to Steven Tyler to attest to the pivotal role that First Nations artists played in the development of Blues, Rock and Funk.
Chris Marker’s expansive, nay, insanely encompassing portrait of his friend and colleague, Aleksandr Ivanovich Medvedkin begins with Medvedkin assailing the screen and stating: “Chris, you lazy bastard, why don’t you ever write to me, send me a letter, even that short...” So begins this epistolary film, composed of six different letters, each corresponding to a period of Medvedkin’s life and work. The film is Marker’s post-mortem answer (and tribute).
Two of Chris Marker’s remarkable film portraits, including his masterful and deeply personal analysis of the work of Andrei Tarkovsky. Edited some twelve years after Tarkovsky’s death for the collection Cinéma, de notre temps (Cinema of Our Times), Une Journée d’Andrei Arsenevitch (One Day In The Life Of Andrei Arsenevich) is an extraordinary love letter from one filmmaker to another, and a memento mori of the most profound kind.
Here is Chris Marker’s magnum opus in all its ferocious intelligence and scale Originally released in 1977, and reedited in 1996, the rise and fall of the Left is ostensibly Marker’s subject, the great political revolutions of the 60s and 70s, totemic figures like Che Guevara, Fidel Castro, composed like a heaving orchestra of archival material, demonstrations, occupations, and blood in the streets.
The legendary 13-part series, commissioned by Arte and the Onassis Foundation (that kept Marker’s work unavailable for twenty years), alights at DOXA in its first three episodes Interviews were filmed in Tbilisi, Athens, Paris, Berkeley, and Tokyo. The cast of character is equally expansive with composers, filmmakers, philosophers, and friends including Iannis Xenakis, Michel Serres, Cornelius Castoriadis, George Steiner, Oswyn Murray, Michel Jobert, and Elia Kazan. But what is most startling are the ideas examined.
Moving between past and present, Ghost Ship takes the viewer on a circuitous voyage from Oscar Wilde and Florence Balcombe to F.W. Murnau and a Portuguese party boat — discovering the history of blood science, film tinting, and the cruise ship industry along the way.
Imagine receiving a cheque every month that would cover your essential needs. How would you spend your time? What would you do with the extra cash? Unconditional basic income, guaranteed annual income, and negative income tax are just a few of the names for the social security program that has been gaining momentum around the world.
Katyusha: Rocket Launchers, Folk Songs and Ethnographic Refrains focuses on the role of song as cultural form, following the Soviet war-time hit song Katyusha, the rocket launcher that subsequently took on its name, and the tragic life of the secretly Mennonite Soviet pop star Anna German, who recorded an immensely popular version of the song in 1962.