At a time when leaders spout lies and cries of “fake news” put reputable media outlets in doubt, audiences showed an astonishing appetite for nonfiction filmmaking. This 1961 Jaguar E-Type Has Been Restored to Its Original Glory. Simon hasn’t just captured La Fémis’ enrollment philosophy in The Competition, she’s captured its would-be students’ hopes and ambitions, and treated them with loving care. Stacker lists the 30 best nature documentaries, including single-season miniseries, as determined by IMDb’s 2019 user poll. The effect of Black Mother’s technique—Allah shot on both 16mm and HD—is dizzying to the point of overwhelming, but the discipline required to engage with it is rewarded by a singular moviegoing experience. —PD, 6. Like Revereza, Fazili might not have been explicitly thinking about making a film, but the finished product (co-directed by Emelie Mahdavian, who’s also credited as the movie’s editor and writer) is alternately gripping and disarming. Over two nights in January 1972, Aretha Franklin (just shy of her 30th birthday) recorded what would become the greatest-selling gospel album of all time—and arguably her finest album, period. The record Amazing Grace has been with us ever since, but the record of that night, shot by a young filmmaker named Sydney Pollack, has been kept away from public view for myriad reasons. Yankees’ Minor League Insurance Fight Sheds Light on Pandemic Claims, Winter Weather Will Never Be a Problem With These 10 Snow Boots. The Best Films of 2019: 3 Comments. The movie is a “story,” which means some parts might be invented or exaggerated, and because it’s “by Martin Scorsese,” the whole film is filtered through one artist’s perspective on another. ‘Honest Thief’ Review: Liam Neeson vs. 2019YearinReview, Documentary. After that film’s airing, the Taliban killed Tur Jan.) Shot on three mobile phones, Midnight Traveler was chiefly a way for Fazili, his wife (filmmaker Fatima Hussaini) and their two young daughters to document their three-year ordeal, traveling through deserts and snow in the hopes of reaching sanctuary in Europe. This time, we get close-up glimpses of the raging flame-thrower: the carny barker of hate. —Cole Henry. It’s propulsive. But he lets the people he meets tell their stories in their words, and anchors those words to truth through imagery. Sadly, it took Franklin’s death last year at the age of 76 for that film to finally come to light. —Tim Grierson, Director: Khalik Allah Brett Story takes a radically different approach, engaging with “normal” New Yorkers (each more eccentric than the last, actually) and editing their thoughts about the issues that concern them most in such a way that subtly reveals the disconnect between the looming crisis and their daily behavior. Steven Bognar and Julia Reichert’s American Factory sympathetically illustrates what those everyday pains look like, bringing us into the world of an Ohio automotive plant laid low by the 2008 recession. While American Factory is certainly told more from the perspective of the Americans, there’s an evenhandedness to the filmmaking, which gives the material the sobering weight of grim inevitability. Why people are worried—and how they’re learning to cope—is what powers this remarkable documentary. Allah’s filmmaking functions as stream of consciousness. Hawkins allows Manning as much historical context as she needs to foreground her own history, and yet, why she leaked so many documents to Wikileaks isn’t emphasized so much as how she did it, and how isn’t mused about so much as why, in the aftermath, in prison and undergoing persistent public scrutiny as a “traitor,” the threat of the death penalty a real possibility, she decided to come forward as transgender and then sue the government for her right to begin hormone treatment, subsidized under the same medical programs afforded any prisoner, while still under federal custody. It’s made to look like a random slice of life, but as the guest stars (Lenny Kaye, Jim Jarmusch, Charlie Sexton from the Bob Dylan Band) swing by, you realize that the store has become a kind of stage set, and that what you’re watching is something more beguiling: the documentary as verité fairy tale. This one, however, is great. As is the case most years, the best documentaries of 2019 reach back into 2018, maybe forward into 2020, US release dates sometimes more than a year out from festival premieres. Directors Julia Reichert and Steven Bognar have been in the right place at the right time before. Considering her morally complicated reputation as a chronicler of the lifestyles of the rich and famous, “The Queen of Versailles” director Lauren Greenfield doesn’t seem the obvious choice to deliver a hard-hitting exposé on political corruption, and yet, Imelda’s narcissism yields incredible access, revealing parallels to corruption in our own country. From two watershed moments in the entertainment industry to an insight into a disastrous music festival that never quite happened, to what the world could look like in 20 years, 2019 delivered a number of unforgettable documentaries.. With Christmas around the corner, we’ve compiled a definitive list of the very best documentaries released in 2019 and where you can watch them. We meet skateboarding teens. We see clips from football games at schools like Howard University and Alabama A&M interspersed with Beychella rehearsal footage, the entire performance and film a celebration of those institutions, perhaps even an antithesis to what most people would consider a primarily white experience. Early on, the movie features a contemporary interview from Dylan confessing that he doesn’t quite remember what prompted Rolling Thunder or what his ambitions were. Here are the 10 best documentaries of 2019 so far: Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese. For those not experiencing that reality on a daily basis, it can very easily become an abstraction. “The Brink” is a vivid and scary movie that captures the formation of a new world disorder. Now It Can Be Yours. As much a symbol as he is a man, Dylan has spent most of his adulthood resisting being labeled the voice of his generation while slyly welcoming fans’ desire to dissect his every utterance, devoting much of the last couple decades opening up the vaults to release a series of official “bootleg” recordings associated with his most iconic albums and tours. As is the case most years, the best documentaries of 2019 reach back into 2018, maybe forward into 2020, US release dates sometimes more than a year out from festival premieres. Perhaps most saliently, XY Chelsea is about being a queer person in a society still attempting to understand what that even means—about navigating the responsibilities of self against the tide of expectation that one represent all of queerdom. But each one of them gave you a front-row seat to someone else’s experience, whether it was an elderly European beekeeper, an award-winning author or Neil Armstrong. At nearly two-and-a-half hours, Rolling Thunder Revue is overlong but also overpowering, inconclusive yet undeniably stirring. By necessity, the film must be strikingly personal. Now, in the eco-conscious Canadian artist’s third feature-length collaboration with co-directors Jennifer Baichwal and Nicholas de Pencier, the trio leverages the power of cinema to achieve what gallery work so rarely can: to mobilize audiences into action. Herzog sits down with an ailing Mikhail Gorbachev to swap words about the objective truths regarding the histories that the two men have experienced, lessons they’ve learned and how one—anyone—never really stops suffering. This shockingly intimate exposé, in which Wade Robson and James Safechuck describe the experience of being sexually abused as boys by Michael Jackson, stands as a vital reckoning, one that reveals the greatest pop star of his time to have been a monster. The importance of “Leaving Neverland” lies in the human power of its testimony, which compels us to confront the dark side of celebrity as few documentaries have. —PD, 8. In This Article: ‘The Wolf of Snow Hollow’ Review: Meet the Beast Within. Dour, poetic and blunt—Herzog’s films are like Herzog, as much about outward expeditions into the unknown as they are obsessively introspective looks into the filmmaker himself. Simon’s fly-on-the-wall approach functions as an investment in the process, and in the outcome of the process for the select few students we get to meet. The film also arrived with a surprise live album encompassing the entire Coachella set as well as new music. Advertising may sell audiences on a Jamaican ideal, but with his documentary, Black Mother, director Khalik Allah achieves a goal far greater: presenting audiences with the truth, however lovely or hideous it may be. Traveling the globe to film sites of greatest transformation, the team presents a different kind of disaster movie, hoping to reshape us into more responsible custodians of our planet. This lyrical and majestic tone poem is a special kind of feast for the senses. When you think of climate change documentaries, chances are you picture Al Gore giving a PowerPoint presentation, or else scientists talking about rising sea levels in alarmist tones. Allah throws his audience into the ocean and forces them to tread water, soaking in the country’s textures and contradictions and trauma. There are too many waiting their turn for Simon to chronicle all of them, but those that do make in front of her camera give context and rationality to their seemingly irrational bid for a spot at La Fémis: Cinema, to them, is everything, whatever side of the industry they’re interested in taking. “Leaving Neverland” —Tim Grierson, Director: Werner Herzog “The Hottest August” It’s all just The Carters’ latest in a long line of masterpieces, a colossal, visually stunning spectacle that not only summarized Beyoncé’s 20-year career, but also Historic Black Colleges in an entirely new way. Send us a tip using our anonymous form. Shout-outs also go to: One Child Nation, Nanfu Wang’s indictment of China’s strict procreation laws; Black Mother, a contemplative and sometimes profane tone poem about Jamaica; David Crosby: Remember My Name, which lets the Sixties singer give himself a victory lap and a pitiless self-examination; Shooting the Mafia, Kim Longinotto’s look at Italian photographer Letizia Battaglia; Miles Davis: Birth of the Cool, a jazzbo’s dream of a music doc courtesy of the great Stanley Nelson; Leaving Neverland, a gamechanging, controversy-generating two-part testimonial regarding allegations of abuse against Michael Jackson; The Cave, which follows a Syrian doctor treating victims of the Syrian civil war; Knock Down the House, a reminder of how much good luck and great access play into nonfiction filmmaking; The Kingmaker, which will ensure you never view Imelda Marcos the same way again; and the latest (and last?)

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