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Archive for the ‘Director’ Category

ROTHKO’S ROOMS – THE LIFE AND WORKS OF AN AMERICAN ARTIST

Wednesday, July 6th, 2011

ROTHKO’S ROOMS, produced and directed by David Thompson is a journey into the world of Mark Rothko (1903 to 1970), who in the period from 1940 into 1960’s was one of the leading American Painters in the Modern Art world. The unique thing about this educational documentary is that it goes beyond mere facts and history.  Through a combination of action, interviews, archival elements and additional footage, the documentary story penetrates Rothko’s abstract view of the world, unlocking the door to Rothko’s abstract work. This is a beautifully crafted documentary film well worth watching on it’s own.

With the aid of voice over narration by Dilly Barlow, interviews and commentary with Sean Scully, Artist, Brian O’Douherty, writer/artist and other artists, friends, family, critics, art historians, collectors and museum curators, Rothko’s work and fragments of his life are brought into focus. One technique used through out the documentary is to conduct the interviews in front of subjectively lit paintings by Rothko.  This has an amazing affect, like being there with someone giving you a guided tour. Classical music, Mozart (Rothko enjoyed Mozart), is used through out the film under interviews and in other scenes. Between interviews and commentary there are moments when you are allowed to spend a few moments on your own with the work and music.

ROTHKO’S ROOMS looks at Mark Rothko’s life from age ten when his family moved from Russia to Portland Oregon. Upon graduating from high school he won a scholarship to Yale. According to his daughter he did not begin his career as an artist until after he finished studying and then moved to New York City. The documentary makes a beautiful transition from archival photographs of Rothko to New York City and a series of shots of the city in a twilight rush of colors. The lighting and cinematography in ROTHKO’S ROOMS is excellent and helps to tell the story. It goes beyond simply getting a good exposure. The sound track whether it’s music or the sound of a subway train pulling into the platform, also helps set the mood and subjectively narrate scenes.

ROTHKO’S ROOMS goes a long way in helping you to understand abstract modern art; how the work represents emotion, environment and the artist’s presentation of those realities. The film looks at Rothko’s early years, his time at Yale, his evolution from the early years and New York abstract minimalism to his later painting. Like many artists Rothko did not like labels. He wanted his work to stand on its own. Rothko said: “I’m not interested in the relationship of color or form or anything else. I’m interested only in expressing basic human emotions – tragedy, ecstasy, doom and so on… The people who weep before my pictures are having the same religious experience as I had when I painted them.”

ROTHKO’S ROOMS examines the circumstances surrounding Mark Rothko’s refusal to deliver work he was commissioned to create for a space in the new Segrams Building in New York City. He apparently did not understand that the work would be exhibited in a Four Season’s restaurant. He visited the restaurant before the installation happened and returned the $35,000 fee he had received. This work is now exhibited in the Tate Modern in London, England.

ROTHKO’S ROOMS is both an informative and entertaining documentary. It should be watched by anyone interested in understanding modern art, Mark Rothko’s work or enjoying an excellent documentary film. But the major achievement of this documentary is that it brings you closer to Rothko’s work and his message.

J R MARTIN – AUTHOR – CREATE DOCUMENTARY FILMS, VIDEO AND MULTIMEDIA – REAL DEAL PRESS

ROTHKO’S ROOMS -2000 – 60 MINUTES PRODUCED AND DIRECTED BY DAVID THOMSON, CAMERA MIKE ROBINSON, FILM EDITOR MALCOLM DANIEL © BBC -DISTRIBUTION KULTUR

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CAVE OF FORGOTTEN DREAMS

Thursday, June 23rd, 2011

CAVE OF FORGOTTEN DREAMS in 3D, directed by Werner Herzog is a glimpse and a brief exploration of The Chauvet-Pont-d’Arc Cave in France overlooking the former bed of Ardeche River in Southern France. The Chauvet cave houses prehistoric cave paintings that are 32,000 years old according to carbon dating. Hertzog, who narrates the documentary, explains that experts have determined that there was a landslide at least 10,000 years ago which sealed the entrance to the cave on the limestone cliff thereby preserving the paintings inside.

The French government has constructed metal walkways through the cavern and visitors must stay on the walkway. Hertzog and his three-person crew (camera, audio and a production assistant) could not leave the walk for any reason. They were only allowed to be in the cave for up to four hours per day because of Radon and CO2 emissions. Only certain types of lighting were permitted.

CAVE OF FORGOTTEN DREAMS gives you a good look at the cave paintings along with descriptions and background from archeologists who are studying them. But the documentary also shows the environment and speculates on how these prehistoric Homo sapiens may have lived in an environment with lions, bears, bison, rhino’s, mastodons, other animals, some now extinct and their Neanderthal neighbors.

HORSES PAINTED IN CHAUVET CAVE 32,000 YEARS AGO

Seeing this amazing artwork in 2D or 3D is a privilege since the French government has kept access exclusive and limited to scientists to protect the site and the art work. Herzog’s use of 3D for this documentary seems appropriate because it gives you the feeling of being in this underground space. It allows you to not only view this incredible work created 32,000 years ago, but also to feel the environment the artist worked in. There were no human remains in the cave only animal bones.

The film also explores why these people painted the work and what it meant to them at the time. The documentary looks at other cultures in the area and the fact that humans of that time had musical instruments and felt a connection with some form of spirituality. Some research indicates that prehistoric people did not believe it was they who did the painting but spirits working through them. Perhaps the paintings were a way of passing on information to the next generation. Interestingly, it’s pointed out in the film, the paintings were apparently added to the cave walls over a 5000 year period!

CHAUVET CAVE PAINTINGS FRANCE

Werner Herzog in some of his “documentary” work has wondered into the world of speculation, fiction and “mock-u-mentary” efforts. In CAVE OF FORGOTTEN DREAMS, he stays pretty much in the nonfiction world. With the exception of shooting in 3D, the documentary is very basic, interviews, effects and music. In one scene Herzog mentions hearing your own heart beat in the cave and sure enough we start to hear a heartbeat.  It would have been helpful in a number of instances to see some graphics that explained what some of the experts were talking about.  Also at times subtitles to make clear what people with heavy French accents were saying in English. The music may be a bit over-the-top at times.

CAVE OF FORGOTTEN DREAMS is a fascinating look at art created by prehistoric humans. The art is a link, in fact a documentary on its own, “actuality” these sentient humans witnessed and experienced 32,000 years ago.

J R Martin

In theaters June 2011

CAVE OF FORGOTTEN DREAMS 2010 90 MINUTES WRITTEN, DIRECTED BY WERNER HERZOG, CINEMATOGRAPHY PETER ZEITLINGER CREATIVE DIFFERENCES, HISTORY FILMS RELEASE

 

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THE CIVIL WAR - A Film by Ken Burns

Tuesday, June 14th, 2011

Hailed as a film masterpiece and landmark in historical story telling  The Civil War employs 100% actuality materials, no re-enactments, only historic photographs, archival documentation in many forms, archival film footage, letters from Civil War Soldiers; other quotes read voice over, contemporary footage of civil war areas, paintings, graphics and interviews with scholars. Ken Burns has used this method of storytelling successfully in a large number of documentary films. According to Erik Barnouw, author of a History of Non-fiction Film, Burn’s work won him an invitation to membership in the Society of American Historians previously only available to authors of historical books. This –“also  was, recognition of documentary a medium for the writing of history.”

The documentary, The Civil War is eleven hours long and first ran as a series on PBS in 1990 and again in April of 2011. Counting both sides in the conflict six hundred thousand Americans were killed in the Civil War. In this compilation style documentary, old photographs, documents and other source materials are seen as a letter from a soldier to his wife or family is read by a voice over narrator. Sound effects like cannons being fired are heard as photographs of the day, taken of battles are shown. Burns does not simply show an old photograph he brings it to life with camera movement on the photo, authentic sound effects, music and voice over when necessary. Interviews with Shelby Foote, Civil War historian and others add insight and perspective to documentary.

The elven hour documentary The Civil War, A Film by Ken Burns, presents the viewer with an intimate history of the civil war in a way that words on paper would have difficulty accomplishing. The point-of-view of the documentary appears to be mainly from the soldiers and Americans from both the North and the South. This is a history lesson that every American should experience. It brings both knowledge of the war and an understanding of what the cost of civil war is for both sides in any internal conflict, in any country then and now.

See video below for a brief explanation by Ken Burns about the documentary and the “Ken Burns effect” using still photographs in documentary films like The Civil War.

 

The Civil War – 1990 Public Broadcasting Service (PBS) – Distributed by Warner Home Video – 11 hours – Directed by Ken Burns -

Included among other documentary films by Ken Burns are, Brooklyn Bridge (1981); The Shakers: Hands to Work, Hearts to God (1984). More recently in 2006 he produced an 15 hour documentary on the World War II titled THE WAR.

J R MARTIN – AUTHOR – CREATE DOCUMENTARY FILMS, VIDEO AND MULTIMEDIA – REAL DEAL PRESS

 


GRIZZLY MAN - IN NATURE THERE ARE BOUNDRIES

Saturday, June 4th, 2011

Timothy Treadwell lived with the wild Grizzly bears in Alaska for thirteen summers until he and his visiting girl friend, Anne Huguenard overstayed the usual time Timothy spent there, resulting in them both being attacked and devoured by a Grizzly bear. Grizzly Man, directed by Werner Hetzog, incorporates a mix of footage shot by Treadwell over thirteen years, interviews shot by Hertzog with people who knew Treadwell and archival footage. Herzog also narrates parts of the documentary. It is a well made compilation style documentary.

Grizzly Man is a tragic story, a documentary about a self-appointed naturalist who believed he had a special ability to communicate with these ferocious predators who will even eat their own kind. Treadwell named the bears he lived near and basically talked about them like they were big grumpy “Mr Chocolate”  Teddy Bears when he gave talks to children.  The documentary directed by Werner Hertzog begins with  footage Treadwell shot of himself with the bears. In these scenes Treadwell talks about his relationship with the bears and how he is able to survive around them by controlling how they react to him.

Early in the documentary it’s revealed that Treadwell and his girl friend Amy Huguenard were discovered dead by the seaplane pilot who came to pick them up. While trying to find the couple the pilot relates how he narrowly escaped the bear who killed and ate the couple. After flying over the area searching some more he spots a human rib cage on the ground and calls for help. Later a forensic expert explains how difficult it was to piece together the bodies from parts, some of which were found in the bears stomach. At this point the documentary begins to look at Treadwell’s life up to the time he died though the people who knew him best. Hertzog’s interviews with friends of Treadwell are revealing, insightful and edited into the fabric of the documentary.

What emerges is the strange life of Timothy Treadwell and his ultimate fate. This documentary explores the reality Treadwell created for himself. Did he really have some sort of rapport with these wild bears or was he delusional? What made him identify with these wild creatures more than other humans? Grizzly Man isn’t a nature documentary by any means but it does attempt to explore why some humans, even someone like Jane Goodall, would choose to live among wild animals who may do them harm. Grizzly Man may be more of a cautionary story regarding understanding the realities of nature, predatory animals and man’s relationship with the environment.

J R MARTIN

GRIZZLY MAN – A TRUE STORY OF A LIFE GONE WILD  – WERNER HERZOG

2005  – 103 Minutes  – SUNDANCE FILM FESTIVAL ALFRED P. SLOAN AWARD

 

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INSIDE JOB 2011 OSCAR BEST DOCUMENTARY FEATURE FILM - THE FILM THAT COST OVER $20,000,000,000,000 TO MAKE

Sunday, March 13th, 2011

Inside Job tells the nonfiction story of the global economic crisis of 2008 including the history that leads up to this disaster. Inside Job goes beyond documenting the event from a historical perspective; it discusses the cause of the catastrophe, and names the culprits who cashed in, benefiting at the expense of the taxpayers. The documentary does all this in a way that is insightful and not difficult to comprehend. Inside Job is the rare documentary that definitely looks at problems,  issues, causes, and outcomes, then offers solutions to stop it from happening again. This 2010 Oscar winning documentary should be seen by citizens of the United States and citizens of countries world wide.

Inside Job makes a strong case for the prosecution of individuals, bankers and others involved in criminal activities including fraud and for the reinstating of regulations that would prevent the banking industry from repeating the same crimes.

From the first frame of Inside Job it’s clear that main factor facilitating the crisis is deregulation. The film opens by exploring what happened in Iceland, after this once prosperous country of 350,000 people, decided to deregulate their banks. The meltdown of the economy in Iceland reflects a miniature version of what happened globally and in the United States.

As a documentary film Inside Job combines archival material, interviews, narration by Matt Damon, and footage that supports the interviews and complements the story. What might have been 109 minutes of talking heads becomes a well paced, visually interesting documentary. The cinematography by Svetlana Cvetko and Kalyanee Mam is excellent. The use of graphics helps make points and explain issues. Sound design is effective.  Because of the controversial nature of the interviews it seems appropriate that the questions being asked by the interviewer are heard off camera. No one can claim that his or her answers to the questions were taken out of context.

HenryPaulson, Ben Bernaki, Timothy Geithner -- Inside Job

 

 

 

Director Charles Ferguson (also directed No End In Sight) spent a great deal of time researching the subject and consulting with many individuals including, Charles Morris author of Two Trillion Dollar Meltdown, Nouriel Roubini, Professor, NYU Business School, Elliot Spitzer, Former Governor and former Attorney General New York, Paul Volcker, former Federal Reserve Chairman, and Barney Frank, Chairman Financial Services Committee, US House of Representatives, among others. Ferguson’s intensive research on the subject is apparent in the facts presented and his ability to ask the right questions of interviewees.

The actuality portrayed by Inside Job is historical, investigative, and educational in content. To go along with the documentary the filmmakers have created a “Study Guide for Teachers” that can be downloaded as a PDF from InsideJobStudyGuide.com. This study guide adds an interactive dimension to the documentary, opening up the advocacy aspect of the film.  One major issue examined is the complicity by economic studies educators and institutions who enabled the wrongdoing by many of the players in this story.

J R Martin

Professor Frank Partnoy who wrote the study guide states: “Inside Job, the critically acclaimed movie by Academy Award nominated [Oscar Winner] filmmaker, Charles Ferguson, is the definitive film about the economic crisis of 2008 and the role of Wall Street in modern society. It is a substantive and entertaining film that is ideal for educational purposes. I have shown it to my class, and I encourage you to show it to yours. The film is sweeping and non-partisan in its critique, and covers both the historical roots of the crisis and the central flaws of global financial regulation. It includes comprehensive coverage of the major financial players at the center of the recent boom and bust. The film draws heavily on interviews with a ‘Who’s Who’ of financial markets, including major financial insiders, politicians, journalists, and academics. (I have a very small part as well). These interviews, and the film’s engaging and provocative narrative by Matt Damon, will introduce your students to key financial issues, economic history, and current debates and news about the markets.” — Professor Frank Partnoy is the George E. Barrett Professor of Law and Finance and the founding director of the Center for Corporate and Securities Law at the University of San Diego. –


 

 

 

 

 

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RESTREPO -- ONE PLATOON, ONE VALLEY, ONE YEAR

Thursday, February 3rd, 2011

“Restrepo” is a bullets over your head, crawl on your belly documentary experience in which you will “take fire” with combat soldiers who are actually fighting in the Korengal Valley near the Pakistan border in Afghanistan. A person who hasn’t been in firsthand military combat cannot really know what it’s like to be in this situation. This documentary may be as close as you can get to actually being there.

In Restrepo American soldiers of the Second Platoon, B Company, Second Battalion, 503rd Infantry Regiment, 173rd Airborne Brigade Combat Team are sent to the Korengal Valley outpost in Afghanistan to extend the “security bubble” by establishing a new outpost to defend the firebase and the local villagers from the Taliban. The firebase is isolated and surrounded on all sides by Taliban who continuously fire on soldiers from the mountains that surround the area.

This cinema verite style documentary begins with young men on a train hours before deployment. Although combat ready, they appear to not have a complete grip on what they are headed into for the next fifteen months. The moment they arrive near the firebase, their vehicles come under fire. Once in the compound it isn’t possible to walk around without drawing fire. There’s at least one firefight every day. The result of these opening scenes is to give the viewer a first hand taste of what the soldiers are experiencing.

Sebastian Junger and Tim Hetherington, on assignment to write for Vanity Fair, visited and were embedded with the Second Platoon over a one-year period. They shot 150 hours of footage in every type of situation including going on patrol with the soldiers. The verite footage is complimented by interviews with selected soldiers done separately out of the combat zone. On patrol one night Hetherington fell and broke his fibula. In order to not slow down the patrol he walked all night with his injury. In Bagram he had a metal plate put in, went back to the US, but decided to return to Afghanistan before he was fully recovered.

"RESTREPO" KORENGAL VALLEY, AFGAHANISTAN PHOTO TIM HETHERINGTON

The mission of the new troops becomes one of establishing an additional outpost on high ground to help alleviate the vulnerability of the current base. To do this they must literally dig in to the top of a rise to build a new outpost while constantly under fire. One of the soldiers, a platoon medic, PFC Juan “Doc” Restrepo is killed trying to rescue a wounded soldier. The men name the new fifteen-man outpost after him. The “Restrepo” outpost becomes the main focus and title of the documentary.

It took the filmmakers time to gain the confidence of the soldiers. Tim Hetherington and Sebastian Junger made ten trips to the Kornengal Valley from 2007 to 2008 where, after a helicopter flight into the main firebase in the valley, and a two-hour walk, they stayed with the men of the Second Platoon at the Restrepo outpost. For much of the time this outpost was sandbags and ammo under constant attack. The filmmakers slept, ate, and went on patrol with the soldiers. According to the filmmakers, “The surrounding mountains rose to a height of 10,000 feet – all of which was traversed on foot. Long operations meant carrying enough camera batteries to last a week or more, on top of the fifty or so pounds of gear required on even ordinary patrols. Cameras got smashed into rocks, clogged with dirt and hit with shell cartridges during firefights. Men were killed and wounded during filming, so there was a constant issue of when it was OK to turn on the cameras and when it was not. Only the filmmakers’ close relationship to the men of the platoon allowed them to keep shooting in situations where other journalists might have been told to stop.” Cameras used included Sony HVR-Z1, Sony HVR-A1, and Sony V1 VariCam for interviews done three months after deployment at the Battalion Headquarters in Italy.

The uniqueness and success of Restrepo is that it creates an actuality that is totally from the soldiers point-of-view. The politics and other factors of their having to be there are not explored. It is the intimate story of soldiers in combat conditions, fighting day-after-day with no breaks, living in the trenches. Restrepo goes beyond fictional wartime drama where the viewer suspends disbelief for ninety minutes to imagine what it might be like in a combat situation. There is no need to “suspend disbelief” in this documentary.

Restrepo is reminiscent of The Anderson Platoon, a 1967 documentary from the Viet Nam era, where the filmmakers are also embedded with a combat platoon. In both films the lives of the soldiers, the issues they face daily, how they deal with constant threat of death for themselves, their fellow warriors and their willingness to continue fighting are explored. Junger and Hetherington have created a spontaneous, unpretentious and engaging nonfiction reality. The interviews shot separately away from the war zone allow the soldiers interviewed to reflect on their feelings and experience. The interviews are then skillfully edited into the overall documentary providing reflective moments in the midst of battle.

J R Martin

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SOUTH OF THE BORDER Oliver Stone Reports. You Decide.

Tuesday, February 1st, 2011

South Of The Border, a film by Oliver Stone, is a trip by Mr. Stone to South America where he conducts conversations with the elected Presidents of several countries including, Hugo Chavez of Venezuela, Evo Morales, Bolivia, Lula da Silvo, Brazil, Cristina Kirchner and her husband Nestor Kirchner (the ex president), Argentina, Fernando Lugo, Paraguay, Rafael Correa, Ecuador. Oliver Stone and Hugo Chavez visit Cuba for a short conversation with Raul Castro. The conversations reveal a different picture of these leaders than the one portrayed in the media. The Presidents speak about their goals for their countries, the region and how they regard the United States among other topics.

In this film the President of each country talk about their national goals and growing independence from the International Monetary Fund (IMF), the United States and Europe. Lula da Silvo proudly tells Stone that Brazil paid off the IMF and that they do not owe money to any other country. The politics they adhere to are strong nationalism and left leaning policies that they believe will help the people of their countries.

Oliver Stone facilitates an opposing viewpoint to the propaganda put out by so called news outlets like Fox and other news media in the United States. In general, South Of The Border disputes the prevailing perceptions about the leaders of each South American country visited. Stone presents the notion that a new order is emerging in South America, a continent once dominated by foreign colonial powers and corporate interests. Most of the Presidents had a great deal of distain for the policies of George W. Bush during his presidency of the United States.

It’s enlightening and interesting to hear the other side of the story. There is no attempt to examine or dispute what Chavez and other leaders tell Stone in the conversations he has with each of them. Stone’s interview style is conversational and apparently sympathetic to the views of the interviewees. No strongly controversial questions are asked. There is “B” roll from US cable television painting Chavez and others as dictators and socialists. The conversations and interviews presented contradicts this footage.

The main focus of the film is Hugo Chavez of Venezuela. The film disputes the idea that Chavez is a dictator showing that he has been elected to office eleven times. Lines of Venezuelans are seen cueing up to vote. Many appear to be Chavez supporters wearing red shirts. Mr. Chavez takes Oliver Stone on a couple tours including the site of his humble beginnings, and other sites demonstrating changes he has implemented.  A notable achievement is the fact that Venezuela now produces a large of amount of its own food. Mr. Chavez also voices his opinions regarding the way he has been vilified by the media both at home and in the US. He appears to derive his support from the poor and working class citizens of the country. The leaders of the other six countries included in South Of The Border appear to respect Chavez’s ideas about South American solidarity. He appears with Oliver Stone in some of the other countries while the interviews with those Presidents are conducted.

Documentary films, like nonfiction books, have a point-of-view (POV), because human beings, who are subjective by nature, make them. A documentary should be able to pass the “actuality” test and the “objective reality” test to qualify as nonfiction reality.  Are events and interviews actual or staged?  Objective reality deals with supporting facts that are true or false. Beyond this point there is a fine line between documentary and propaganda. A gray area, that depends on who’s watching the documentary, their beliefs and reality.

To the extent that Stone’s interviews appear natural and not rehearsed South Of The Border qualifies as a political documentary. The difficulty is that there is little factual support produced for what Chavez and others claim has happened and for what they are doing now. This does not mean that what they are saying is false; it only means that you have to take their word for it. So this film is more of a series of conversations than a documentary film. In all fairness the sub title for the film says “Oliver Stone Reports. You Decide.” Still it would have been helpful to have more information to consider. There are a couple of short quotes from supporters of Chavez. Also a mysterious clip of Michael Moore lambasting Wolf Blitzer of CNN for not asking the right questions of the Bush administration and causing the US to get embroiled in Iraq.

To some, South Of The Border might be considered propaganda, however, the POV of the film is clear and the film furnishes the viewer with an alternative to the propaganda from the other side. In this respect it accomplishes a great deal, by presenting an alternative viewpoint.  With a running time of seventy-eight minutes South Of The Border could have furnished more first person viewpoints from the citizens of each of these countries or local opposition view points to those of the leaders interviewed. Doing so would have pushed the film into a holistic political documentary context.

Past US interference in the affairs of many South Of The Border countries is well documented but not always common knowledge in the United States. South Of The Border looks at some of these intrusions and the resentment felt by the people of these countries. It is educational and informative and is a non condesending view of these South American leaders and their countries.

J R Martin

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RIVERS AND TIDES – ANDY GOLDSWORTHY - WORKING WITH TIME

Sunday, January 30th, 2011

Rivers and Tides begins in the gray white snow where one of Andy Goldsworthy’s stone, cone shaped sculptures is seen by the water. The camera pans across a colorless, rock strewn beach. Goldsworthy appears from behind some rocks and walks to the water. He is wearing a blue parka that contrasts with the stark gray environment. The wind and water complete the scene as Goldsworthy explains his artistic philosophy. “Art for me is a form of nourishment. I need the land, I need it,” he states standing on the shore looking at the sea.

Rivers And Tides is a film, which demonstrates that a documentary may be both art and actuality. Andy Goldsworthy creates his work in natural environments with materials from nature including leaves, flower pedals, twigs, pinecones, snow, sand and stone. He has traveled the world creating installations that in some cases are reclaimed by nature immediately or within a few hours of being constructed.

Rivers and Tides offers an intimate portrait of an artist. It examines how Goldsworthy constructs a number of his sculptures and other works. At the same time the film reveals how he feels about the work he creates from materials found in nature and exhibited there. These projects include rock walls; rock sculptures, constructions made from sticks, twigs and leaves. He introduces natural colors and materials from nature to create art that reinforces and complements the environmental venues.

Since Goldsworthy works so closely with nature this documentary is also about nature and the natural order of the environment. The documentary shows how his work is connected with the land. Early scenes in the film are shot in Nova Scotia where Goldsworthy is working on a commission he has received. This environment feels untouched, reminiscent of the groundbreaking documentary Nanook of The North released in 1922. Robert Flaherty who made Nanook believed that the Inuit people of that time had a connection with the land and sea. Goldsworthy too appears to have an intimate connection with rocks, and other organic materials he touches. He speaks of the “energy and life that is running, flowing through the landscape.” Much of his work flows though the landscape, contrasting and complementing the form and shape of the earth, rivers and topography. The documentary travels with Goldsworthy to Scotland where he lives and works. This is home and he knows the land and rivers well.

Rivers and Tides is a beautifully shot work of art on it’s own. The cinematography for this film is excellent always allowing light to play its role in telling the story. Each scene is rich in detail and color. Director Thomas Riedelsheimer vision is in tune with nature and how Goldsworthy’s work integrates itself into the environment. The film manages to bring the work to the screen in a way that allows you to experience it as it was intended. It is both entertaining and informative. Music composed by Fred Firth is perfect for the story. The editing of the film and audio mix are harmonious. Rivers and Tides combines all the filmmaking elements available to the craft to create a warm and revealing portrait of an artist and his work. The fact that Goldsworthy’s work is always a part of nature makes this documentary unique and inspiring.

Rivers and Tides is a documentary that is a portrait of an artist, an exploration of nature and a documentary that is art based on actuality.

J R Martin
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BALSEROS The Dream. The Journey. The Reality

Monday, January 24th, 2011

There have been times when a morning walk, on an east coast Florida beach, would reveal a washed up, battered, homemade raft of Cuban origin. Seeing this may make you wonder where the people on those rafts ended up? Did they drown in the ocean, were they picked-up by the coast guard or did they somehow land on the beach? The documentary Balseros answers some of these questions and gives a great deal of insight into the fate of Cuban rafters known as Balseros.

This documentary is unique in that it begins with the potential Balseros (rafters) in Cuba as they build rafts and plan their trips to Florida. After the Soviet Union dissolved it stopped supporting Cuba and a great deal of poverty resulted. You get to see the lives of certain Cuban people before they attempt this hazardous journey. The Cubans in this documentary are poor. Their families want them to have a better life and support their ambition to leave. But the people wanting to leave do not seem to have any particular skills that will help them get a job once they get to the US. They just want to escape their desperate situations.

A number of Balseros are interviewed as well as their families as they prepare and ultimately leave Cuba. There’s some limited footage of people in the ocean on rafts accompanied by voice over of rafters who survived either by making it to Florida or being picked up by the Coast Guard; who then take them to Guantanamo for sixteen months. Here they face the possibly of being repatriated to Cuba. There are scenes of the camps and interviews with the detainees held at Guantanamo in the documentary. Seven of the “rafters” who reach the US, are tracked through the process of getting accepted into the US. Afterward they are sent to various destinations in the US to live and find work.

Most immigrants gravitate to communities where there are other members of their ethnic group or country. With the exception of MIami, it seems like the Cubans are headed to places where there are none of the traditional supports. They have survived the ocean only to find themselves now floating in a culture they don’t understand.

The story covers a seven-year period and follows the lives of the seven Balseros who finally make it to the U.S. It becomes apparent quickly that the “American Dream” can be elusive and that the lives of the new immigrants  are very difficult. They are sent to Miami, New York, Kentucky, and Nebraska with little preparation for the culture and problems they will encounter.

The Cubans in this film appear to have a basic education, in one case a man is a sculptor, so the jobs they qualify for are minimum wage. There are no “rags-to-riches” scenarios in this documentary. Five of the individuals find work and establish a working class life style, but two of the “rafters” seem to drift in to dealing drugs and/or living on the edge. Each person has their own story. How typical the Balseros in the documentary are of others who left Cuba in this fashion is not clear. The majority of Cubans who came to the United States did not come on rafts.

The filmmakers created a story that lets you get to know the people involved, and then go with them on their journey. At the same time the film goes back to Cuba where the families, and in two cases the children, of the “rafters” still live. In some instances both the rafters and the families back in Cuba are impacted by the separation. The documentary explores the world of immigrants coming to the US in a way that lets them tell their own stories for better or worse. The Spanish filmmakers avoid political comment keeping the documentary in a humanist context. The Balseros and their families narrate the film.

The last look at the seven Balseros was in 2001 when the sister of one of the women already in the US, wins a lottery to get a visa to the US. She comes to Albuquerque, New Mexico with her daughter. It’s not a happy reunion since the Balsero sister has not adjusted to life in the US very well. This is one example of the stress and alienation that these immigrants have encountered, largely without the support of their families being there with them. This is not to say that there wasn’t some support from friends, religious organizations and government. But there is both a language and cultural aspect that appears to be difficult to deal with. Families and friends were close knit in Cuba, forming a support group for each other.  In their new country they often do not have that available..

Most of the Balseros in the documentary have adjusted to a new life; they have jobs and feel they are happy in their new country. Balseros is interesting from a sociological, historical and humanist perspective.

J R Martin

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MAYA LIN: A STRONG CLEAR VISION – A PORTRAIT OF THE DESIGNER OF THE VIETNAM WAR MEMORIAL AND THE CIVIL RIGHTS MOVEMENT MEMORIAL IN MONTGOMERY, ALABAMA.

Sunday, January 16th, 2011

Maya Lin, a twenty-one year old student at Yale enters and wins a competition to design a national memorial; thereby changing the course of her life and making a long-term impact on a nation. Maya Lin: A Srong Clear Vision is the story of the creation of the Vietnam War Memorial and its young designer Maya Lin. In many respects this aspect of the story reflects the controversy and angst born out of the Vietnam War. The film also explores the creative process of an individual thrust into controversy because of her original design, politics and individuals who opposed her because of her ethnicity. Beyond all the strife, Maya Lin’s design has had a lasting, healing impact on the losses and wounds obtained by a nation in a controversial war. In addition to the creation of the memorial, this documentary is a portrait of a woman who has made a contribution to her country and fellow citizens through her work.

This film explores cultural, and social realities, as well as the life of an artist. The first part of Maya Lin: A Strong Clear Vision stands on its own as an account of the creation of the Vietnam War Memorial in Washington D.C.. It deals exclusively with Maya Lin and the events surrounding the creation of this Memorial. This segment is well crafted and tells a story that is revealing. It begins with Maya Lin sitting in her studio reflecting on her design process and footage of people viewing the finished memorial.  Maya Lin in this interview remembers; “Designing the piece [the memorial] I knew that I had to ask myself what is a memorial’s purpose especially what is a memorials purpose in the twentieth century?

Intercutting the emotionally charged clips of the visitors at the memorial with Maya Lin’s interview helps to convey the impact this work has on those experiencing it.  Maya Lin continues: “…all I was saying,  …is the cost of the war, is these individuals, and we have to remember them first, and so it’s really the people, not the politics, which is what this piece is about.”

What the documentary does at this point is take you through not only the history of how the memorial came to be, but also the emotional experience of having a creative vision that becomes controversial.  This exploration is not limited to Maya Lin, others involved in the process are also interviewed and their experiences edited together with archival news footage and photographs.

In the next segment Maya Lin returns to architectural school and begins to think about the future and what she might do with her life. In 1987 Maya Lin receives an Honorary Doctorate, Fine Arts Degree from Yale University. Maya is seen receiving her degree and speaking. The local Post 23, Vietnam Veterans Organization took this opportunity to express just how much the memorial has meant to them since it was built. Their sincere appreciation is evident and it’s apparent that even talking about the memorial is an emotional experience. The documentary then looks at the Juniata Peace Chapel sculpture, constructed of rough-cut granite, and designed by Maya Lin.

At the next stage of her career Maya has evolved into a designer/architect /sculptor of memorials. One of her projects is a commission to design a memorial in Montgomery, Alabama that will honor the civil rights movement. She relates how her work on this project was, in part, inspired by a line in the “I Have a Dream” speech by Martin Luther King, “…and we will not be satisfied until justice rolls down like waters and righteousness like a mighty stream.” The documentary once again exposes you to the process and thinking that Maya Lin brings to her work. Through her vision she is able to represent and bring to the surface the often unspoken feelings of those who experience her work. Footage of the memorial’s dedication reveals how the design is successful in this respect.

The documentary also looks at other aspects of Maya Lin’s career including the design of a home and other projects. For anyone interested in art, architecture or the creative process this film is a journey full of information and insight. There is also a short segment about Maya Lin’s Chinese American background and her growing up in Ohio.

The structure of this film is episodic bringing you through various projects and stages of Maya Lin’s career. It’s a thoughtful and well-edited sampling of her work and experience. The first thirty-one minutes of the story stands apart from the rest of documentary. By itself it has a beginning, middle and end. The rest of the documentary is a montage that informs you about Maya’s career, gives a quick look at some of her work, but seems to lack continuity as a story. There are a few attempts to tie in with the first segment on the Vietnam War Memorial, including scenes at the end of the documentary, but they feel random. That said, it’s obvious that the subject matter is strong enough to carry the exposition successfully.

Maya Lin: A Strong Clear Vision is both a portrait of an architect and an exploration of one womans’s creative contribution to her world. This documentary is both informative, educational and moving.

JRMartin

Author Create Documentary Films, Videos and Multimedia

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