All these wonderful things

TORONTO 2011: Thom Powers on Mavericks Premieres from Maysles & Demme Plus PALIN, PARADISE LOST 3 and "the sexiest Wiseman film ever made"

Earlier today, the Toronto International Film Festival announced the line-up for its Mavericks program, and our eye went immediately to THE LOVE WE MAKE, a decade-in-the-making look at Paul McCartney's organizing of The Concert for New York, a charity response to 9/11, directed by Albert Maysles and Bradley Kaplan. 

The film is set to air on Showtime on September 10 (TIFF opens on the 8th), and McCartney showed up via satellite recently at the Television Critics Association summer press tour to talk about the film - and about his history with the Maysles:

"I first met Albert and his brother David," McCartney recalled, "when we came to America, came to New York, and they were filming us." Their manager, Brian Epstein, had been approached by the Maysles brothers with a pitch to film them in a new way: cinema verite.

"Well, we were very big fans of that," McCartney continued. "That was kind of happening in Europe at the same time it was happening in America. So we loved the idea." And when the quartet met the duo, the Maysles brothers sealed the deal when the Beatles asked what the filmmakers wanted them to do. The reply: "We want you to just ignore us."

McCartney smiled widely. "We thought that was the best piece of direction we'd ever received. 'Oh, ignore you? Yeah, we can do that. I can ignore anyone.' So we did, and we just had a great time. And they were right to direct us in that way, because we completely forget they were there. And so the film is very natural. We'd be in our hotel rooms, talking to deejays, talking to each other. And they would just be behind the couch, filming very quietly."

We talked with Mavericks Programmer (as well as the Documentary Programmer at TIFF) Thom Powers about the new Maysles film, plus the latest collaboration between Jonathan Demme and Neil Young, as well as some of the major titles in the previously announced TIFF documentary line-up, including the very current - and apparently in furious re-edit mode - PARADISE LOST 3.

All these wonderful things: The thing that jumped out at me immediately in the things that you are announcing (today) is, of course, the Maysles/Paul McCartney film.  Do you have any more to say about that?

Thom Powers: Well, you know, it's not often that I see a 16mm, black and white film these days that's brand new.  It's kind of exciting and even more exciting when Al Maysles is behind it.  I really think one of the things that stands out in this film is that quality of Maysles' camera work.  It's shot just a few weeks after September 11, and everyone is a little dazed.  One of the most memorable moments of the film to me is the scene where Bill Clinton comes backstage to say hello to McCartney.  And you have to remember that Clinton has only been out of office for 8 or 9 months and Maysles has a way of capturing that moment that feels very loaded with subtext.

TORONTO 2011: Doc Premieres from Herzog, Wiseman, Demme, Gibney, Spurlock, Yu, Hustwit, Fricke, Broomfield & Churchill and Berlinger & Sinofsky

[A scene from Davis Guggenheim's new U2 documentary FROM THE SKY DOWN, which was previously announced as this year's TIFF Opening Night film.]

[Editor's Note: Charlotte Cook checks in from London with her thoughts on this year's Toronto International Film Festival documentary line-up.  We'll have more on this in the coming days.]

The majority of documentaries playing at this year’s Toronto International Film Festival were announced Wednesday. We had already learned that this year’s festival would be special for documentaries when Davis Guggenheim’s U2 doc, FROM THE SKY DOWN was announces as the first documentary ever to open TIFF.  Also previously announced was Cameron Crowe’s 20-year history of another popular rock band, PEARL JAM TWENTY.

As we have come to expect, TIFF pulls no punches with a programme full of big name directors such as Werner Herzog, Jonathan Demme, Morgan Spurlock, Alex Gibney and Fred Wiseman.

Gary Hustwit brings the final part of his design trilogy (which began with HELVETICA and OBJECTIFIED) with URBANIZED, which ventures into how the design of our cities and buildings affects our lives. Another Part Three joining the line-up is PARADISE LOST 3: PURGATORY by Joe Berlinger and Bruce Sinofsky which is already building anticipated buzz.

Mark Cousins’ THE STORY OF FILM: AN ODYSSEY clocks in at 900mins (15 hours), but is likely to be a joy for the completist documentary nerds among us.

It’s great to see the excellent THIS IS NOT A FILM (IN FILM NIST) by Mojtaba Mirtahmasb and Jafar Panahi, which premiered at this year’s Cannes after being smuggled into the country on a USB stick buried inside a cake due to Jafar Panahi’s incarceration and current working ban.

Other eagerly anticipated films are Jessica Yu’s LAST CALL AT THE OASIS, which looks at the current water crisis and Ron Fricke's sequel to Baraka, SAMSARA. One of the most talked about before premiering, and likely after, is SARAH PALIN - YOU BETCHA! by Nick Broomfield and Joan Churchill.

The line-up is also notably drawn from a multitude of different countries, with Bulgaria, Cambodia, Chile and Austria to name a few.

Talking to CP24, Toronto's Documentary Film Programmer Thom Powers said of this year's line-up "It's kind of an insane embarrassment of riches."

The full documentary line-up so far is below, with more to be added:

THE BOY WHO WAS KING by Andrey Paounov (Bulgaria)
CAPRICHOSOS DE SAN TELMO by Alison Murray (Argentina/Canada)
ARIRANGA by Kim Ki-Duk (South Korea)
COMIC-CON: EPISODE IV - A FAN'S HOPE by Morgan Spurlock (USA)
CRAZY HORSE by Frederick Wiseman (France/USA)
DARK GIRLS by Bill Duke and D. Channsin Berry (USA)
DUCH, MASTER OF THE FORGES OF HELL by Rithy Panh (France/Cambodia)
FATHERLAND (TIERRA DE LOS PADRES) by Nicolás Prividera (Argentina)
FIRST POSITION by Bess Kargman (USA)
FROM THE SKY DOWN by Davis Guggenheim (USA)
GERHARD RICHTER PAINTING by Corinna Belz (Germany)
GIRL MODEL by Ashley Sabin and David Redmon (USA)
I'M CAROLYN PARKER: THE GOOD, THE MAD, AND THE BEAUTIFUL by Jonathan Demme (USA)
IN MY MOTHER'S ARMS by Atia Al Daradji Mohamed Al Daradji (Iraq/Netherlands/UK)
INTO THE ABYSS by Werner Herzog (USA)
LAST CALL AT THE OASIS by Jessica Yu (USA)
THE LAST DOGS OF WINTER by Costa Botes (New Zealand)
THE LAST GLADIATORS by Alex Gibney (USA)
PARADISE LOST 3: PURGATORY by Joe Berlinger and Bruce Sinofsky (USA)
PAUL WILLIAMS STILL ALIVE by Stephen Kessler (USA)
PEARL JAM TWENTY by Cameron Crowe (USA)
PINA by Wim Wenders (Germany/France)
SAMASARA (Originally from Sanskrit) by Ron Fricke (USA)
SARAH PALIN - YOU BETCHA! by Nick Broomfield and Joan Churchill (UK)
THE STORY OF FILM: AN ODYSSEY by Mark Cousins (UK)
THE TALL MAN Tony Krawitz, (Australia)
THIS IS NOT A FILM (IN FILM NIST) by Mojtaba Mirtahmasb and Jafar Panahi (Iran)
UNDEFEATED by Dan Lindsay and TJ Martin (USA)
URBANIZED by Gary Hustwit (USA and UK)
WHORES' GLORY by Michael Glawogger (Austria/Germany)
THE YEAR OF THE TIGER (EL AÑO DEL TIGRE) by Sebastián Lelio (Chile)

2009 IN REVIEW: The Year in Nonfiction Heroes

Yes, yes, we know.  It's February 1 and we're still looking back at 2009.  Call us belated, call us procrastinators, but we still have a word or three to offer about the year that's now a month past.  Last year we offered a list of ten folks who've made the community a better place in 2008.  Here's our list of 2009's nonfiction heroes:

Cinereach

2009 marked the year that Cinereach broke through as a major grant player – but with a significant twist.  Their first high profile film, OCTOBER COUNTRY, was known less for its social justice/liberal agenda perspective than for its artistry.

Sean Farnel

Through his seafar blog, the guru of Hot Docs gave readers an unvarnished and thoroughly revealing look at the process behind programming a major documentary festival.  By examining his own process so publicly, Farnel gave filmmakers a unique opportunity to understand what happens throughout a curator’s year – from fests to submissions to hundreds of index cards thump tacked to a wall.

The Board of Film Independent

There were those who deplored the actions of Film Independent and the Los Angeles Film Festival in their handling of the controversial documentary, BANANAS!*, but we found the organization’s dedication to screening the film – even in the threat of lawsuit – courageous.  For those who believe otherwise, rest assured there are plenty of film festivals and organizations that wouldn’t have taken the risk.

The Monday Brief: Exhaling the Week That Was, Sundance Advice, Toback's Extortion Charge & Varnum Goes on Hiatus

Deep breath.

After a week filled with all kinds of documentary developments, we're now settling into a week that's slightly less packed.  Today, the Sundance short films are announced and on Sunday, the Los Angeles Film Critics are scheduled to announce their 2009 winners.

Already the DC Film Critics jumped to the front of the line last night by announcing FOOD, INC. as their winner (it had earlier been revealed as one of five nominees along with ANVIL!, THE COVE, CAPITALISM: A LOVE STORY and GOOD HAIR.

Another winner yesterday? Oscar shortlister MUGABE AND THE WHITE AFRICAN, which won the Best Documentary award at the British Independent Film Awards.

If you haven't been paying attention this week, you missed a humdinger, what with Sundance announcements, Gotham & IDA winners, Spirit nominations and the like.  If you missed any of it, here's a recap:

We unveiled The Horse Race and examine FOOD, INC.'s Oscar chances in light of a big week ahead, just before...

...FOOD, INC. wins the Gotham for Best Documentary and...

...is nominated for a Spirit Award in the same category, giving it the rare pre-Oscar sweep of major doc award nominations.  Others up for Best Feature include probable spoiler ANVIL!, MORE THAN A GAME, OCTOBER COUNTRY and WHICH WAY HOME.

The IDA unveils seven of its winners four days before the Friday ceremony which ultimately crowns ANVIL! as its Best Documentary Feature.  The love at the IDAs and probable love at the Spirits makes us wonder if we shouldn't reconsider ANVIL's very remote Best Picture chances.

In the midst of all this, THE COVE gets some love from the National Board of Review.

Sundance unveils a stellar competition line-up as well as a promising out-of-competition slate.

And finally, two leading Cinema Eye nominees - BIG RIVER MAN and LOOT - open at the IFC Center in NYC and a couple of cranky conservatives try to exact some kind of revenge on Al Gore and AN INCONVENIENT TRUTH and the LA Times bungles the story.

The Sundance announcements always bring mixed emotions - the excitement of a whetted appetite for what's coming next year and the knowledge that literally thousands of filmmakers were disappointed not to hear Park City's clarion call.

Filmmaker Magazine's Scott Macauley addresses those who received the form emails:

"The first thing: for a few days, forget about it. Don’t think about your film. This weekend go out to a concert, or a museum, or a park. Watch football. Probably don’t go to the movies. If you were obsessively refreshing this site or Indiewire all week to see the Sundance list, take a break from not only your film but film itself.

Next week dive back into it. And as you do so, recognize the one thing you now have that all those Sundance filmmakers don't: time. Time to take a second look at the film, screen it, refine it, finesse, or perhaps just find the right post-production vendor. Time to fine tune the DIY marketing and distribution plan that you really wouldn’t have been able to pull together by mid-January."

The Monday Brief: Indie Film in Hell - The Bloodbath, CineVegas & Polanski, But Signs of Hope With Ondi Timoner's Innovations, CAPITALISM, SEPTEMBER & IT MIGHT GET LOUD

Is the entire indie film world going to hell?  That's been the question vibrating through our community for the past several weeks, particularly after a Toronto International Film Festival that was light on sales and a summary paper issued by Anne Thompson, in which she labeled this year's TIFF an "indie bloodbath":

"The old independent market is over. A new one will take its place. But we are smack in the middle between the end of one paradigm and the start of another, and it’s a scary place indeed...

If nobody knew anything before, they know even less now. The one sure thing is that moviemakers will now PAY to get their films released. The few remaining distributors can sit back and wait for movies to drop in their laps, often with P & A funds attached. All hopes of a hot sale at a festivals were dashed this year."

And if you think filmmakers going to festivals have it bad, what about the festivals themselves?  This year has seen an unprecedented upheaval, as five of the top 10 festivals for documentaries saw a change in leadership (Sundance, Silverdocs, Los Angeles, Tribeca and Full Frame) and a number of film festivals found themselves making news - Toronto over its choice of Tel Aviv for its City to City Spotlight, Los Angeles in its battle with the BANANAS!* filmmakers and lawyers from Dole, SF Jewish Film over its screening of RACHEL, Tokyo due to its rejection-then-capitulation/acceptance of THE COVE, not to mention the coup at the Denver Film Society.  And what does it say about the New York Film Festival if most of NYC's indie film cognoscenti took the first flights out of town to be in Austin for Fantastic Fest, just as NYFF was opening?

Now we learn that CineVegas, one of the best regional festivals in the US, will not be back for its 2010 edition (although they state publicly that they will try to return sometime after that) and yesterday  the news that filmmaker Roman Polanski was arrested in Switzerland as he was en route to receive a lifetime achievement award from the Zurich Film Festival.

Add to all this what any filmmaker on the festival circuit (including this one) can tell you with certainty - for many festivals, the days of largesse have passed.  No travel, no accommodations, no screening fees.  Oh yeah, and if you want more than a couple tickets to your film, you're going to have to pay for them.

Let that sink in for a moment.

The Monday Brief: Thompson at indieWIRE, THE COVE Debuts and Michael Moore Threatens a Docu-Retirement

We're gonna try a bit of an experiment, a new feature here at the blog called The Monday Brief. 

What is it?  In short, it will be a recap of some of the news of the weekend, some of the items that we missed or couldn't get to from the previous week(s) and a bit of a riff on what we're thinking and talking about.

How long will it last?  Hard to say.  We're gonna try to keep it regular, although our filmmaking job will continue to take top priority, so we can assume that there will also be Commando Mondays (sans Briefs).  But we're hoping this provides an outlet for stories that seem to deserve more than a headline and maybe something less than a full blog post, plus a bit more stream of consciousness (which will likely get us into a spot of bother).

In any case, thanks for coming along for the ride.

Today is the day that Anne Thompson moves her column Thompson on Hollywood over to indieWIRE and, at press time, there's already a significant amount of content, including posts about THE HURT LOCKER's Oscar hopes, a few wrap-up pieces from ComiCon and a look at the disappointing year Universal is having.

As we wrote earlier this year after it was announced that Variety had given her the pink slip:

"Few are able to balance coverage of studios and indies as well as Thompson does.  And, true to her being a real reporter, she has better sources and a more inquisitive mind than nearly anyone who writes about the industry on a regular basis."

I should add that she's one of a handful of folks who pays a good deal of attention to what's happening in the documentary world.  It's great to see Thompson pair up with indieWIRE and it will be interesting to see how the partnership plays out.

Who Are the Most Important Documentary Directors?

Over at the Doculink listserv, there's been an ongoing discussion the past couple weeks about "the top 20 documentary filmmakers".  Part of the discussion has been - define top 20.  Is it top 20 of all time?  Top 20 currently active?  Most influential? 

But what began as pondering a list for 20, instead became a free-for-all, with folks there throwing out names of esteemed filmmakers until the total list numbered more than 150.  Now some of these were more than a bit nonsensical (what to make of someone proposing a filmmaker whose debut film is just now, unremarkably, hitting film festivals), and a few others were makers of single great films.  Others were documentary stalwarts as series producers, editors or cinematographers.

What follows, after the jump, is a curation of Doculink's original list.  For our standards, we're choosing the terminology "most important" - which could mean influential, indicative of a movement or an era, or that they created masterpieces of the form.  We've removed the one hit wonders and we've created an addendum list for noteworthy filmmakers who are in the early stages of their nonfiction careers.  And we've added a few folks who seemed particularly conspicuous in their absence.

Despite what feels like an exhaustive process, we're certain that we've yet to include some essential filmmakers.  So, let's take this list as a starting point.  Who do you think are the most important documentary filmmakers?  Who should be on the list?  Who is an emerging voice that should be included?  Is there anyone who shouldn't be here?

Wiping the Sleep from My Cinema Eyes

Am back in Los Angeles, still in recovery mode from the whirlwind of the past month, which began with awards week in LA in late February, followed by True/False, a week of shooting in Branson, Austin for this year's SXSW and finally, the full flung head race toward Sunday's event at the Times Center in New York. 

As the curtain came down on this year's Cinema Eye Honors, I felt that somewhat predictable mix of happiness, satisfaction, bleary-eyed confusion and outright post-partum that comes when all the work of the previous year suddenly comes to a quick conclusion.

I'll be posting a bit in the next week on this year's awards, but wanted to offer a few - still in the midst of it all - reflections...

I loved our new venue at the Times Center.  It's a great room - wide but not terribly deep - and from the stage you could see everyone in the audience (which, for me, was a crazy mix of old home week and documentary all-stars).  Everything about the ceremony flowed extremely smoothly - a credit to our stage manager Matt Posorske and technical director Jason Tyrell, as well as the enthusiastic, professional team at the Times Center.  Look forward to returning there for future Cinema Eye ceremonies.

It was wonderful to have so many of last year's honored filmmakers in attendance - James Marsh, Margaret Brown, Ellen Kuras, Thavi Phrasavath, Yung Chang, Jermiah Zagar, Chris Bell, Geoffrey Smith, Morgan Spurlock, Sascha Paladino, Jody Shapiro, Jinx Godfrey and Sara Cross, amongst them - and terrific to have so many from the NYC documentary community turnout, particularly our presenters - Jennifer Venditti, Gary Hustwit, Laurie Anderson, Jean Tsien, Nina Davenport, Spurlock, Andrea Meditch, Jehane Noujaim, Albert Maysles, DA Pennebaker and Chris Hegedus.

I'll admit to somewhat conflicted feelings about this year's winners.  When I first thought of these awards, I imagined an event that would honor films that excelled at the creative arts, rather than tipping a hat to a movie solely because it had "done good".  So, on one level, one can't help but argue that it's entirely appropriate that a film like WALTZ WITH BASHIR, with its innovative use of animation and music in its story-telling, should walk off with four Cinema Eye Honors.  Or that a film like MAN ON WIRE, would conclude its sweep of the year-end awards with a speech at the Times Center podium.

In short, WALTZ and WIRE - beloved by audiences, critics and certainly our voters - are exactly the kinds of films I was thinking of when I pondered Cinema Eye.  Still, I wouldn't have minded if voters had spread the love to include something for MY WINNIPEG, ORDER OF MYTHS, BETRAYAL or any other of this year's exceptional nominees - nor, I suspect, would WIRE director James Marsh or WALTZ animator David Polonsky - called to the stage four times (and each time with a hilarious anecdote - that's him, below, in Times Square with a box full of Cinema Eyes on his shoulder) have minded to hear other names called from the envelopes.  That speaks, I think, to the generosity of feeling that existed in the room on Sunday - which Marsh referenced during the filmmaker panel when he spoke of a feeling of community in the nonfiction world that he finds absent in the narrative/fiction world.

As I mentioned in my exchange with Matt Dentler, last year's awards felt like a crazy express train barrelling down the track.  This year, we had more time to think about the kind of event that Cinema Eye will be in the future, and I suspect that we will have more conversations about that as we begin to plan CEH2010. 

But I can't help but be happy with Sunday's gathering and proud of the efforts of everyone involved - particularly the entire Cinema Eye team, led by Sally Plourde and Danielle DiGiacamo, our graphics wizard Kyle Walters, key team members Nicholas Doldinger, Arielle DiGiacamo and Zack Boger, everyone at IndiePix, who continued their incredible support of Cinema Eye at a time when sponsorship is drying up, specifically Bob Alexander.  And thanks, once again, to my co-chair Thom Powers for jumping aboard the express train last year and helping to keep things on track in New York for year two.

On a strictly personal note, this year's Cinema Eye allowed me to indulge in a bit of show business, which was a tremendous amount of fun.  My particular thanks to my pals Yance Ford and Dan Miller for joining me onstage in these efforts, and also to Patricia Halsell-Richardson and her daughter Carla for bringing some of the Mobile Mardi Gras to New York City.

More on this year's Cinema Eyes, including links to the thoughts of others, in the days to come.

Photos from this year's event can be found on the Cinema Eye website, with video due shortly.

SXSW 2009: The Film Remains the Same in Gary Hustwit's OBJECTIFIED

What would happen if - as the credits began to roll on Gary Hustwit’s surprise hit of 2007, HELVETICA (Spirit Award nominated, self-distributed, “the film about a font”) - you stood up and found out that it was just an intermission?  A “let’s go out to the lobby” moment, wherein you grab your popcorn or your copy of Dwell Magazine, used the facilities or grabbed a smoke and then returned for Act 2?

Welcome to Hustwit’s OBJECTIFIED, a film that plays – in thought, word and deed – as sequel, continuing saga and seamless transition from the world of font design into industrial design.  And as Hustwit announced at the world premiere screening in Austin, this is part two of (at least) 3 in a design series.  I can’t remember another nonfiction filmmaker who has so purposefully created a second film that moves, breathes and observes as specifically as his first.

OBJECTIFIED Director Gary Hustwit in Austin Sunday afternoon.

While not the surprise that HELVETICA was – who knew that font could be the most beloved, hated and invasive design motif our time (just look at this blog) – OBJECTIFIED successfully continues Hustwit’s design franchise and ably encourages its audience to take a second look at the world around them.  While the conflict is lessened in movie number 2 (flamboyant designer Karim Rashid is one of the few to advocate a philosophical debate), we are still encouraged to observe our world (particularly our tchotchkes - bonus points if you know the German word for that) in a new way, which we remain convinced is what all great nonfiction should do.

Full Frame 2009: 41 Features Announced for This Year's Festival in Durham

It's that time of year again when the big doc fests of the spring anounce their titles in quick succession (and word begins to bubble about what may be coming down the pike in early summer at Silverdocs and LAFF).  Yesterday, Tribeca announced its Competition and Discovery sections.  Last week, the Full Frame Film Festival unveiled it's roster of "New Docs" including 41 feature films:

45365
Directed by Bill Ross & Turner Ross

ADJUST YOU COLOR: THE TRUTH OF PETEY GREENE
Directed by Loren Mendell

ART & COPY
Directed by Doug Pray

BEETLE QUEEN CONQUERS TOKYO
Directed by Jessica Oreck

BOY INTERRUPTED
Directed and produced by Dana Perry

BURMA VJ
Directed by Anders Østergaard

CALIFORNIA COMPANY TOWN
Directed and produced by Lee Anne Schmitt

HAIR INDIA
Directed by Raffaele Brunetti & Marco Leopardi

LADY KUL EL-ARAB
Directed by Ibtisam Mara'ana

LOVE ON DELIVERY (FRA THAILAND TIL THY)
Directed by Janus Metz

LUBER ALOFT (LUBER IN DER LUFT)
Directed by Anna-Lydia Florin

MECHANICAL LOVE
Directed by Phie Ambo

THE MEMORIES OF ANGELS (LA MEMOIRE DES ANGES)
Directed by Luc Bourdon

MILKING THE RHINO
Directed by David E. Simpson

O’ER THE LAND
Directed and produced by Deborah Stratman

OBJECTIFIED
Directed by Gary Hustwit

OBLIVION (EL OLVIDO)
Directed by Heddy Honigmann

OWNING THE WEATHER
Directed by Robert Greene

PINUCCIO LOVERO. A MIDSUMMER DEATH’S DREAM
Directed by Pippo Mezzapesa

THE RED RACE
Directed by Chao Gan

REPORTER
Directed by Eric Daniel Metzgar

ROUGH AUNTIES
Directed by Kim Longinotto

SAINT MISBEHAVIN’: THE LIFE & TIME OF WAVY GRAVY
Directed by Michelle Esrick

SALONICA
Directed by Paolo Poloni

SAY MY NAME
Directed by Nirit Peled

SHOUTING FIRE: STORIES FROM THE EDGE OF FREE SPEECH
Directed by Liz Garbus

SMILE ‘TIL IT HURTS: THE UP WITH PEOPLE STORY
Directed by Lee Storey

SONS OF CUBA (HIJOS DE CUBA)
Directed by Andrew Lang

SUPERMEN OF MALEGAON
Directed by Faiza Ahmad Khan

SWEET CRUDE
Directed by Sandy Cioffi

THE SWINDLER (BEDRAGAREN)
Directed by Åsa Blanck & Johan Palmgren

UNIT 25 (UNIDAD 25)
Directed by Alejo Hoijman

UNMISTAKEN CHILD
Directed by Nati Baratz

THE VISITORS
Directed by Melis Birder

VOICES FROM EL-SAYED (SHABLUL BAMIDBAR)
Directed by Oded Adomi Leshem

THE WAY WE GET BY
Directed by Aron Gaudet

WE LIVE IN PUBLIC
Directed by Ondi Timoner

WILLIAM KUNTSLER: DISTURBING THE UNIVERSE
Directed by Sarah Kuntsler & Emily Kunstler

YOUSSOU NDOUR: I BRING WHAT I LOVE
Directed by Chai Vasarhelyia