True/False co-director David Wilson presented recent Oscar winner Alex Gibney with the festival’s True Vision Award on Saturday, before a screening of Gibney’s latest opus, Gonzo. The film takes a comprehensive look at the zeitgeist-defining glory years and post-middle-age decline of journalist Hunter S. Thompson, whose commitment to truth through fictionalization inspired Wilson to brand him “a man who could well be the patron saint of True/False.” In introducing Gibney, Wilson noted that the festival was proud to host the director on his first stop after last week’s Oscar ceremony. When he reached the mic, Gibney corrected the record. “This is not my first stop after that event in Hollywood,” the filmmaker said. “I looked at that as a warm-up to True/False.”

The True Vision Award is designed to honor mid-career filmmakers who, in the words of Wilson, “are pushing the non-fiction form forward.” It’s a bit of a disappointment, then, that formally, Gonzo swings wildly between stylistic experimentation and rote talking-head traditionalism. Shooting on high def video to appease producers Todd Wagner and Mark Cuban, who will release the film theatrically under the auspices of Magnolia before broadcasting Gonzo on their HD Net TV, Gibney seems to struggle to transcend the standard visual tropes of the medium. The bulk of the film consists of sit-down interviews with expert witnesses, including Thompson’s son and two ex-wives, Jann Wenner and Pat Buchanan; much of the rest of the footage is culled from fiction films about Thompson and previous documentaries. When Gibney does take chances––such as when he casts actors in a home-video style reenactment set to an actual audio recording of Thompson’s visit to a Nevada taco stand, the transcription of which formed a chapter of Fear and Loathing in Las Vegas––the end result is not dissimilar to something one might see on basic cable. There are inspired ideas here, but with its sometimes awkward video effects and general made-for-TV patina, the whole thing looks a little downmarket for a filmmaker of Gibney’s caliber.

Which is not to say that Gonzo doesn’t offer valuable insight into Thompson’s life, work, and, especially, the power of his celebrity. …Read more

On Friday, True/False seemed to explode all over the city of Columbia, beginning with the annual March into March parade through downtown’s main drag, and continuing through a night of packed screenings and parties. I ate buffet-style kangaroo carpaccio at an event called Reality Bites. I saw a live, partially acapella performance of “I’ve Had The Time Of My Life,” from Dirty Dancing. And I got a chance to confirm that the film that’s probably attracting the most “buzz” at this festival definitely deserves it.

Let’s start with that last one. Anna Broinowski’s Forbidden Lies tracks the almost too fascinating to be believed story of Norma Khouri, the author of Forbudden Love, a bestselling purported memoir about the honor killing of Kouri’s best friend Dalia, a Jordanian Muslim who fell in love with a Christian soldier. The book was published in 2003, (with the support of the Cheney family, who latched onto Forbidden Love as the right piece of anti-Arab propaganda at the right time, it was translated into 18 languages), and Kouri promptly became a literary rock star and a controversial spokeswoman for Muslim women’s rights. A year later, an Australian journalist published a story revealing that many details of Forbidden Love were plainly inaccurate and/or apparently made up.

Khouri, calling the book “not fact, not fiction, [but] faction” and comparing it to The Da Vinci Code, claimed she had altered specifics in order to protect her friend’s family, but maintained that Dalia’s honor killing was very real. In an effort to clear her name, Khouri tells Broinowski that if they go to Jordon together, she’ll prove it. The ensuing trip devolves into a magnificent farce, and it forms the core of a portrait of Khouri––who has the charisma of a movie star and the spin talent of a grade-A publicist––as a con woman too clumsy to evade detection, but somehow so charming and clever that even those who have been hurt by her lies and crimes feel compelled to defend her.

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I’ve become fascinated over the past year with the visual tropes of the Hurricane Katrina film. The helicopter shots of the city underwater, borrowed news footage of refuges spilling out of the super dome, and of course, the ultimate post-Katrina New Orleans money shot: the passenger-side tracking shot of a devastated residential street, probably in the Lower Ninth Ward, meant to bowl us over by offering the illusion of an endless loop of devastation.

When that tracking shot appears in Peter Entell’s Shake The Devil Off, which screened for the first time in the U.S. last night at True/False, it plays to a slightly different end. For every three addresses occupied by a pile of rubble, there seems to be one house not only left standing, but apparently without significant external damage. Certainly, such an image speaks to the frustrating randomness of nature, but more than that, it reminds that appearances can be deceiving. The owners of that home may have the advantage of having an intact structure to return to, but that may not mean much when their community has crumbled all around them.

With shots like this, Shake The Devil Off incorporates some of the tropes of Cinema Katrina, but it’s maybe the least dependent on those tropes for its power than any of the many recent films about the storm and the city that I’ve seen. In fact, in that sense, it’s maybe the only truly post-Katrina film on the festival circuit, in that it’s not really at all concerned with the storm itself, but with the social, economic and racial ripple effects of Katrina that really only became apparent in the months thereafter.
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True/False officially begins tonight, but as is tradition, the festival hosted a special preview screening last night for students at the University of Missouri. The film was …an Alternative to Slitting Your Wrist, and it was a perfect pick for the young crowd. 25 year-old Owen Lowery, who directed, edited and appears in nearly every frame of the autobiographical doc, doesn’t exactly break new thematic ground or wow with his filmmaking prowess, but that’s part of the point: super-accessible and unencumbered by the constraints of traditional cinematic language, Wrist is pure peer-to-peer catharsis.

The film follows Lowery from 24th birthday to 25th, as he attempts to conquer a list of 52 things that he’s always wanted to do, one for each week of the year. We learn early on that Lowery made the list whilst in a psych ward, where he was recovering from a suicide attempt. At first, Lowery milks some of the less-noble list items for comic relief: he gets shot with a taser, he gets but by a scorpion and, thankfully, we’re spared the footage of him “taking a dump on Mount Rushmore.” But the list eventually settles into a structuring gimmick that gives Lowery license to confront his real demons. It becomes apparent that the project isn’t really about the list at all, but about the personal traumas––childhood sexual abuse, his father’s drinking problem as well as his own––that led Lowery to his personal rock bottom.

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I’m typing this from Columbia, MO, where the True/False Film Festival is just getting underway. Shortly before I flew in yesterday, I found out that Christopher Bell’s surprisingly strong Sundance entry Bigger, Stronger, Faster had been added to the True/False program. Shortly after arriving, I found out that the film has been acquired by Magnolia, for theatrical distribution followed by broadcast on HDNet.

Bigger, which I saw at Sundance and reviewed here, has a real shot at Super Size Me-style success, although marketing is going to be key. Bell puts himself at the center as a character, but the film doesn’t feel self-indulgent at all––for a first-time filmmaker, he shows remarkable skill both as an interviewer and as a polemicist. In selling the film to audiences, I think it’s going to be key to showcase Bell as a personality, without undermining the fact that this a convincingly and seriously researched film.

I’ll have more from True/False later today.

AJ Schnack has some notes on the lineup for the 2008 True/False Film Festival, which I’m super excited to be attending for the first time this year. While the line-up features several holdovers from previous festivals (including Sundance hits American Teen and The Order of Myths, and Cat Dancers and Audience of One, both of which screened at SXSW in 2007), and a “Secret Screening” that sounds suspiciously like one of my favorite films from last year, there’s also, according to AJ, “more than a dozen” films having their US premiere at the festival. Some of the titles that caught my eye after the jump. True/False begins on February 28 in Columbia, MO.

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