October Country, Donal Mosher and Michael Palmieri’s debut documentary feature describing a year in the lives of four generations of Moshers living in a depressed upstate New York suburb, is a rare work of impressionistic nonfiction. Its patchwork of visual detail often reminded me of the photographs of Gregory Crewdson (whose work you might have seen on the cover of this Yo La Tengo album, or this Six Feet Under campaign). Crewdson’s work usually imbues suburban and domestic scenes with the aura of the supernatural; nothing actually horrific is visible in the frame, but the presence of something is always implied, out of frame, in the air. With their arresting images of smoked-clogged rooms and American flags convulsing in the wind, Mosher and Palmieri demonstrate a similar knack for lighting and framing the mundane to spin it towards the surreal, suggesting an invisible but not imperceptible force altering the proceedings. The style fits because the Moshers are essentially living a ghost story, with each member so haunted by past decisions that’ve lost control of the future.
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On Friday evening at SilverDocs, I attended a panel on film criticism moderated by Philip Kennicott of the Washington Post, and featuring contributions from critics David Edelstein, Lisa Schwarzbaum and Amy Taubin, and filmmaker/documentary programmer Thom Powers. In his opening remarks, Kennicott positioned the panel as a referendum of sorts on “Wanted: Documentary Critics”, a blog post by Powers in which he posed the question, “Auteurism had Andrew Sarris. Abstract expressionism had Clement Greenberg. Punk rock had Lester Bangs. Where is the equivalent voice for today’s documentary scene?” I was surprised that the conversation that ensued mostly skirted the issue of “where” contemporary documentary film will find its defining critic, and was instead weighed down by argument as to whether or not this is a valid question at all.
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On a panel discussion before its world premiere screening at SilverDocs last night, AJ Schnack used the phrase “Robert Altman-esque” to describe the construction of his new film, Convention. This is accurate as a reference to the stylistic tropes we classically think of when we think of Altman — shot by nine filmmaker/camerapersons, Convention tracks the interwoven stories of a number of semi-interrelated characters as they produce, participate in, protest, protect and/or report on the 2008 Democratic National Convention in Denver — but the film also shares what Roger Ebert, in his review of Nashville, refered to as Altman’s “humanism”, the way he “sees people with his camera in such a way as to enlarge our own experience.” The multiple cameras and the multi-faceted streams of vision that they bring to Convention accomplish two major feats in terms of altering the scale of perspective: they condense nearly an entire city’s goings-on during the biggest international event in its recent history into the managable microcosmic experiences of a few of its thoroughly “normal” citizens, while at the same time opening up spaces in the lives of strangers that the viewer can sink into, and thus sync up to a communal sense of Something Happening. It seems so simple, and yet it’s so rare that you actually find yourself in a theater, having a moment of collective transcendance that makes you think, “This is why movies exist.”
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Nannette Burstein’s American Teen has become ubiquitous since its Sundance premiere, both on the festival circuit and, thanks to a poster carefully calibrated to target Gen X nostalgia, online. Its title suggests a wishful universality, but in fact, when looked at alongside two less-lauded films about American teens against which it screened here in Silver Spring, its document of five white high school seniors in a semi-rural suburb of Indiana seems as niche as it gets.
World premiering here on Friday before beginning a run on HBO Monday night, Hard Times at Douglas High is a fly-on-the-wall work of activism documenting a year in the life of an all-black Baltimore high school, as teachers, students and administrators struggle to comply with No Child Left Behind. Made by the directors of the seminal reality series An American Family, it makes visible the reverberations of blind bureaucracy on living and breathing institutions, making the home and personal lives of its students a spectre, but not a direct concern. Taking the inverse tactic, Going on 13’s intimate portrait of four girls passing through puberty (or, “puberey”, as one subject refers to it early on) over the course of four years in a barely middle-class Northern California community touches on the institutions that contain their lives only incidentally. Seen together in a single weekend, each of the three seem to say less about age than the variables of fate as played out through place and race.
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Spike Lee physically showed up to accept the Guggenheim Honor from the SilverDocs film festival tonight, but mentally, for much of the evening, he seemed to be elsewhere. Maybe his recent squabbles with Clint Eastwood have taken a toll, but when asked to talk about his non-fiction films by Denver Post film critic Lisa Kennedy, the Oscar-nominated filmmaker was virtually unresponsive. Only two subjects seemed to draw out Lee’s fierce, super-quotable Frankenstein.
One was Tyler Perry, who Lee didn’t quite slam, but definitely dissed by implication. “I’d love to see a great film about Martin Luther King,” Lee said. “But I can’t do everything.” He paused as a smile crept across his face. “I gotta leave something for Tyler Perry.” This got the desired affect from the audience––laughs, claps, a few stray “ooooh!”s––and then Lee offered cryptic clarification. “I made the movie Bamboozled,” he said, as if that’s facetious evidence enough that the master of the modern minstrel show would be the appropriate director for a serious film about Dr. King.
The only other subject that could jolt Lee out of his slumping stupor on stage was Barack Obama, to which all conversational roads seemed to lead. …Read more
Tuesday was a travel day, after a final, sleepless night in Las Vegas (a note on that: if you love cinema but happen to be in proverbial Sin City when CineVegas is *not* in session, you must go to karaoke at Ellis Island. This is surely not intended as a slight on the programmers or filmmakers involved in the festival, but the karaoke video that accompanies “Bohemian Rapsody” in that casino bar is as least as good as the majority of short films to which my fellow jurors and I gave prizes. Lest you wonder if I’m joking, I can only say that there’s something about spending four straight days in a casino that makes distinctions between irony and sincerity seem meaningless.)
Anyway. The trip from The Palms to my hotel in Silver Spring, Maryland was exactly 12 hours door to door. I intended to watch a screener of Andrew Jacobs’ Four Seasons Lodge after checking in, but ended up spending two hours looking at Cyd Charisse clips on YouTube, and by the time I put the screener on I had to turn it off almost immediately in order to crash. I only mention this because I went back to it Wednesday morning before a screening of Seaview, and it seems worth noting that it was a total accident that I spent my first day at SilverDocs watching two consecutive films about the refugees of international atrocities struggling to form a community within resorts that have seen better days.
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I’ve been making plans travel plans for the next couple of months this week, and it looks like in mid-June I’ll be making my first trip to SilverDocs. And look: they’ve just made their first major program announcement:
Spike Lee, the Oscar-nominated director of Do the Right Thing, will be honored at this year’s Silverdocs film festival for his documentary work including When the Levees Broke, on the aftermath of Hurricane Katrina, organizers said on Wednesday.
Lee will screen excepts from his documentary works and discuss his career on June 19 at the Charles Guggenheim Symposium, which recognizes top documentary filmmakers and is a centerpiece of the June 16-23 festival.
More from Reuters and at the SilverDocs website. I’ll be in town from the 17th-23; will you?
The Academy of Motion Pictures Arts and Sciences 
