If there was ever comedy deemed ahead of its time, it might be The Dana Carvey Show. Such is the premise of the new Hulu documentary Too Funny to Fail, about the ill-fated 1996 sketch series. The film tells this story through the use of archival footage and interviews. Some may say the show got cancelled because it was dumb—the very first sketch had Bill Clinton nursing a dozen kittens with prosthetic nipples. But the documentary dives deeper into what makes a show succeed or fail—and it’s a lot more than just the jokes.
Many feature filmmakers are entering the feature film world from nontraditional beginnings, such as music videos, and this includes documentary filmmakers.
Feature filmmakers, fiction and nonfiction alike, often enter the world of feature films from studying film in school or getting their foot in the door with feature films–or at least films of the same genre they are pursuing. The standards for feature films have primarily remained the same throughout the years, however music videos have historically had more freedom to break new ground in creative expression with their production, cinematography and editing.
The film frame has remained relatively unchanged since the invention of the camera. Aside from a few changes in common aspect ratios, films have remained contained in a static frame. Filmmakers have worked around this limitation through creative camera motion and editing. Despite those efforts, cinema has remained trapped within the confines of a rectangle.
Even starting this article is giving me anxiety…
My whole life I have been a persistent procrastinator. Many nights have been spent crying to my mother, begging her to help me with my 5th grade science project that was due that next day or writing an essay I was assigned weeks earlier but had only started working on three hours before it was due.
Chinese film director Ke Guo has directed two films, Thirty Two and Twenty Two, to tell stories of comfort women who were forced by Japanese soldiers to become sexual slaves during World War II. Thirty Two was started in 2012 and screened in 2014, and Twenty Two was started in 2014 and screened in 2017. The names come from the number of these women alive in China’s mainland when the filming started.
Last year, I found myself taking a film studies course which focused on indigenous people’s role in film. I had no idea what to expect as this was a topic I had never truly thought about before. Storytelling plays a major role in indigenous culture as a very personal and simple vehicle of truth and ancestry, yet throughout the rise of the film industry, indigenous people have been represented in false stereotypes to meet western culture.
Richard Brody of the New Yorker has said, “There are as many ways of making movies as there are movies, and there are as many experiences of movies as there are viewers.” You could say the same for the film festival; there are as many ways to program a festival as there are festivals. Film festivals take place all over the world and showcase work that represents a vast range of the human condition. And yet, the idea of a film festival is influenced by the earliest renditions of film gatherings in the 1930s and 40s, subsequently expanded by individual creativity. Here in Columbia, the Citizen Jane Film Festival (CJ) celebrated its 10th edition in 2017.
When many of us think about the differences between fiction films and documentaries, we think they seem pretty obvious, right?. But when the medium of film was just being invented, every film was documentary to some extent. The first movie ever made was footage of the arrival of a train shot by the Lumière brothers in France in 1896. The film shows a train arriving at a station where people getting off and into the train, without actors and script. It is a documentary in the truest sense of the word.
Sighted Eyes, Feeling Heart, the debut documentary from director Tracy Heather Strain, is making the rounds at festivals such as the Chicago International Film Festival and the Toronto International Film Festival this year. It explores the dynamic and unconventional life of young playwright and activist Lorraine Hansberry who came of age in the Civil Rights era, but died at only 34. The film is an emotionally charged excavation of what it meant to be Young, Gifted, and Black, the title of Hansberry’s unfinished autobiography, which is one of the many pieces of her work on display in the film. Her play, A Raisin in the Sun, changed the conversation on segregated housing and propelled her to fame, and it was the first play written by an African-American to play on Broadway. The play featured an almost exclusively black cast, which at the time was unheard of. The play which was later adapted into a movie which is also featured heavily in the documentary.
“I wish this film wasn’t still relevant,” Erik Nelson said on Oct. 7, 2017 at the Hot Springs Documentary Film Festival in Arkansas. While Nelson helped Werner Herzog produce his film Grizzly Man, the pair switched roles for A Gray State, in which Nelson was director and Herzog executive producer. Both films chronicle true stories of man’s mental descent into narcissism, isolation, psychotic thinking, extreme politics, and overextended ideals, all swelling into characteristic circumstances for death. A Gray State was met at the festival with bewildered viewers and endless questions that led to staff extending the Q&A beyond its time slot.