The documentarian talks to Hyperallergic about Dick Johnson Is Dead, and how “we need new language to allow for the extreme diversity that is life and death.”
Year after year, True/False has provided a forum for filmmakers, critics, and viewers to do the work of considering documentary outside of its traditional boundaries.
In Dick Johnson Is Dead, Kirsten Johnson pens a mischievous love letter to her father about the only universal guarantee in life — death.
The landscape of cinema has changed immeasurably in just 10 years. These 25 picks show how.
The 2010s were a seismic time for nonfiction filmmaking. Director Robert Greene considers how the craft has evolved, and continues to evolve.
In Cameraperson, documentary cinematographer Kirsten Johnson turns the lens back on her own experiences working on films.
It is not surprising that the art crowd is at home on Maine’s coastline, where Hartley and Homer filled their canvases with crashing tides, and where Longfellow filled his mind’s chalice with classic verse, but I am compelled to wonder about what (if any) Maine connection has been forged by the documentary arts?