In Cooking with Paris, Hilton capitalizes on her portrayal of being a competent woman, while highlighting its anachronism through her absurd performance. Rosler manipulates the camera in the same way.
A man says Blue Bayou took details of his life without his permission. Several women who appear in the documentary Sabaya say they did not consent to be filmed. How can filmmakers avoid these ethical pitfalls?
“The 52-hertz Whale,” which sings a song at a frequency no other whale uses, is a social media phenomenon. But this film shows that the phenomenon says more about us than whales.
With dense split-screen use of period artifacts and a killer Velvets soundtrack, Todd Haynes’s documentary is a loving tribute to his favorite band.
Fauci is not quite a hagiography of “America’s doctor,” but it comes close. It ignores or twists the flaws in his responses to both AIDS and COVID-19.
Bill Morrison’s new documentary The Village Detective: A Song Cycle is an eerie meditation on mortality made from forgotten parts of cinema history.
Filmmakers Betsy West and Julie Cohen talk to Hyperallergic about Murray’s archives and holding themselves accountable as white women biographing a Black figure.
The new documentary Bob Ross: Happy Accidents, Betrayal & Greed pulls back the curtain to expose the realities of Bob Ross, Inc. but does it go far enough?
With films touching on protest in France, China’s one-child policy, and Indigenous life in Canada, the 2021 Currents program stays both culturally and politically forward-thinking.
The Eyes of Tammy Faye features a riveting performance from Jessica Chastain, but proves less interesting than the documentary it’s based on.
Both The Lost Leonardo and Savior for Sale dig into how museums and galleries are not merely complicit with the unregulated art-industrial complex, but are necessary to it.
Ebs Burnough’s documentary The Capote Tapes uses hundreds of hours of newly discovered interviews about the infamous author to take a deeper look at his life.