“Artists are complicated”: S/He is Still Her/e – The Official Genesis P-Orridge Documentary review

Even if you’re not familiar with the experimental art/music groups Throbbing Gristle or Psychic TV, the synopsis for David Charles Rodrigues’s S/He is Still Her/e – The Official Genesis P-Orridge Documentary makes a one of a kind case for viewing: “Featuring William Burroughs, Brion Gyson, Timothy Leary, Alice Genese (Psychic TV), David J (Bauhaus/Love and Rockets), Nepalese monks, African witch doctors, and a special cameo by Her Majesty Queen Elizabeth.”

To read all about it visit Global Comment.

‘Militantropos’ Review: Another Staggering Ukrainian Documentary About What War Actually Looks Like

Cannes: Alina Gorlova, Yelizaveta Smith, and Simon Mozgovyi’s mesmerizing vérité documentary is another entry in the unfortunately burgeoning Ukrainian nonfiction new wave. It’s heartbreakingly ironic that, as Vladimir Putin continues his messianic battle to wipe Ukraine from the map, the country’s documentarians are fighting back the one way they know how — by creating films that seem to just get better and better with every bomb dropped. Simply put, what began for many as a way to keep track of war crimes has now transformed into nothing less than a new way of seeing. In fact, because of the heightened stakes on the ground — the ever-present tightrope-walking between existence and nonexistence — life, and thus the recording of life, is now lived in 3D. There’s a heightened sensitivity to every sound and image encountered during wartime, a hyper-awareness that translates with precision onto the screen. In other words, this uber-focus is a result of their own metamorphoses as filmmakers and as human beings. Great art has become a byproduct of war.

To read the rest of my review visit IndieWire.

“How War Becomes Part of the Human”: Alina Gorlova, Yelizaveta Smith, and Simon Mozgovyi on their Cannes-Premiering ‘Militantropos’

Alina Gorlova, Yelizaveta Smith, and Simon Mozgovyi’s riveting Militantropos, its title a mashup of “milit" (soldier in Latin) and “antropos” (human in Greek), is a striking verité look at how people don’t just fight wars but become “absorbed into war.” Indeed, through a series of meticulously framed images, along with a visceral sound design, we’re taken on a swift-moving trip through the surreality of today’s Ukraine — from the training of everyday citizens in lethal weaponry, to wandering cows on a decimated farm. But also children picnicking in a field, and farmers meticulously tending to their crops, bombs in the distance be damned. If there’s one thing the “militantropos” can count on, it’s that amidst ever-present death, the cycle of life carries on. A week prior to the film’s Directors’ Fortnight premiere, Documentary caught up with the co-directing trio, all members of the prolific indie production company Tabor (its CEO, producer Eugene Rachkovsky, also chimed in briefly). Tabor was founded by a group of Ukrainian filmmakers and artists in 2013, the year before Russia annexed Crimea and set the path to the ongoing war.

To read my interview visit Documentary magazine.

“At the Same Time that We’re Fighting for our Lives, We Are Also Agents of Exploitation, of Domination, of Violence”: Pedro Pinho on his Cannes-Premiering I Only Rest In The Storm

Pedro Pinho’s Cannes-premiering I Only Rest In The Storm follows Sergio, a naive do-gooder who, as the film’s title implies, finds inner peace in places of chaos. In this case it’s the hurly-burly of Guinea-Bissau, where the Portuguese environmental engineer has been hired to produce an impact report that will pave the way for a road-building project to commence. There he meets two charismatic characters, party-loving besties Diara and Guillermhe, the former a native, the latter a Black Brazilian expat. And thus begins a bizarre triangle of love-hate attraction – fueled by a colonialist past, a capitalist present, and an uncertain future for them all. Just prior to the film’s Un Certain Regard debut, Filmmaker reached out to the Portuguese director and cinematographer whose documentary projects (2008’s Bab Sebta, co-directed with Frederico Lobo, and 2014’s Cidades e as Trocas/ The Cities and the Exchanges, co-directed with Luísa Homem) likewise explored the heavy themes of capitalism and migration in today’s supposedly postcolonial world.

To read my interview visit Filmmaker magazine.

“A Human-Ghost Relationship Perfectly Fits Within a Queer Framework”: Ratchapoom Boonbunchachoke on his Cannes-Premiering A Useful Ghost

Ratchapoom Boonbunchachoke’s Cannes-premiering A Useful Ghost is a multilayered cinematic extravaganza (and feat) that manages to seamlessly combine several deep themes: toxic pollution, soulless capitalism, the perils of prioritizing self-interest over the good of the community, and the beauty of unconventional romantic relationships. And that’s all while doing so in the guise of a love story equal parts poignant and bonkers involving a man named March and his recently deceased wife Nat, who has now taken the form of a very sleek vacuum cleaner. Just prior to the film’s Cannes’ Critics Week premiere, Filmmaker caught up with the Bangkok-based writer-director to learn all about crafting a film that also takes on Thailand’s bloody colonial and postcolonial history (as well as the erasing of that history) while leaving ample running time for a knock-down-drag-out fight between haunted household appliances.

To read my interview visit Filmmaker magazine.

SWAMP DOGG GETS HIS POOL PAINTED

Isaac Gale and Ryan Olson’s Swamp Dogg Gets His Pool Painted stars three aging musicians living the good life in a San Fernando Valley bachelor pad (with a rundown pool in need of painting). That such a premise could be the makings of one of the most gonzo docs of the year is a testament to the imagination and talent on either side of the lens. Indeed, the uber inventive film focuses on Jerry Williams – better known as the titular Swamp Dogg – a singer-songwriter-performer-producer-A&R man whose 65-year career has brought him “soul genius” status; as well as his multihyphenate roommates – fellow octogenarian Guitar Shorty, a blues guitarist-singer-songwriter who influenced Jimi Hendrix, and Moogstar, a younger hyper-creative savant with the ability to master any instrument he chooses.

To read the rest of my review visit Hammer to Nail.

“One of our Biggest Challenges Was Painting the Pool”: Isaac Gale on Swamp Dogg Gets His Pool Painted

Isaac Gale and Ryan Olson’s Swamp Dogg Gets His Pool Painted is a gonzo doc that perfectly reflects its trio of carpe diem stars — fun-loving musicians who reside in a bachelor pad in the hedonistic San Fernando Valley (aka the capital of porn). That Swamp Dogg, Guitar Shorty and Moogstar also happen to be in the AARP demographic (two of the three octogenarians) only adds to the unconventionality of it all. As does the filmmakers’s choice to forego the usual biopic route, which they clearly could have taken. The titular star, born with the far more staid name Jerry Williams, has spent the past 65 years as a singer and songwriter, performer and producer (and A&R man), earning him revered cult status in the music industry. Indeed, Swamp’s also been called “the soul genius time forgot,” though the OG Dogg probably couldn’t care less about being “forgotten” — he’s too busy jamming with his friends and hanging by the pool with “neighbors,” fans like Johnny Knoxville and Mike Judge who swing by unannounced. (And, yes, that’s the pool that’s being painted.) Instead we’re treated to personal reflections and heartfelt praise from Dr. Jeri Williams (Swamp’s neurologist daughter) along with a series of gloriously batshit scenes: an infomercial for Swamp Dogg’s cookbook “If You Can Kill It I Can Cook It” (1-866-DOG-FUD); Guitar Shorty killing it on “The Gong Show”; Moogstar relaying a goofy tale, rendered as a Scooby Doo cartoon, about visiting Evel Knievel’s grave with a group of strangers after a gig that develops into something much more poignant. (And also weirder as an opera singer bursts into song, and a naked lady cavorts in a waterfall at McDonald’s.) Just prior to the theatrical release of Swamp Dogg Gets His Pool Painted (May 2nd in LA, May 9th in NYC), Filmmaker caught up with director-writer Gale to learn all about the years-long collaboration and cinematic celebration. As well as the film’s charismatic protagonist whose secret to life is, “Overall, just be cool. And it’s also fun just being yourself. That’s fun like a motherfucker. But you got to find yourself.” (Here’s hoping for a Tao of Swamp Dogg sequel.)

To read my interview visit Filmmaker magazine.

“The Film Asserts a Clear Political Analysis of Zionism, and Simultaneously Does So While Asserting That No Human Beings are Villains”: Tatyana Tenenbaum on Everything You Have Is Yours

Tatyana Tenenbaum’s Everything You Have Is Yours centers on NYC-based choreographer Hadar Ahuvia, specifically her coming to terms, through her chosen art form, with the colonialism and cultural appropriation that birthed the Israeli folk dances she was raised on in Hawaii (by way of Israel/Palestine) and which she still deeply loves. It’s a maddening conundrum that likewise could be applied to the Jewish state itself. As Ahuvia reflects towards the end of the intriguing doc, “Palestinians’ lives are at risk. And Israelis’ lives are at risk because Palestinians’ lives are at risk.” And while much of the film is focused on the acclaimed dancer and educator’s process, including the uncertainty and doubt that goes into creating any form of art, Tenenbaum has smartly chosen to expand her lens to also give voice to those who are quite literally on the other side. As a founder of Freedom Dabka Group, a Palestinian-American performance troupe that, per their mission statement, “use[s] the traditional Dabka dance as a means to connect to their community, their culture and each other,” puts it, “Freedom of movement is to be human.” In this case he’s referring to the situation faced by his own parents: whereas his Jerusalem-born mom can travel anywhere, his West Bank-reared dad can’t even leave the territory. Cut to the Staten Island-based artists performing at a wedding, reveling in their shared ancestral heritage. Not unlike the conflicted Ahuvia, currently in rabbinical school and still bent on squaring the dance circle. A few weeks before the DCTV premiere of Everything You Have Is Yours (May 2nd), Filmmaker caught up with the director-cinematographer-editor-EP to learn all about turning a decade-long artistic friendship into a feature debut.

To read my interview visit Filmmaker magazine.

“Radiation Became a Presence—Almost Like a Mythical Force”: Zhanana Kurmasheva on We Live Here

"Some places on Earth carry a weight that is almost impossible to put into words” is how Zhanana Kurmasheva puts it in her director’s statement for We Live Here, which world-premiered at CPH:DOX and next screens in the World Showcase section at Hot Docs. Fortunately, Kurmasheva has a way with images that allows her to artistically convey both the gravity and eerie specificity of the Semipalatinsk Test Site. Set in the breathtaking Kazakh steppe, it’s an otherworldly place where the Soviets spent over four decades — until 1991 when Kazakhstan gained its independence — conducting a whopping 456 nuclear tests; from which the radiation, unsurprisingly, continues to linger in the air, water and soil today. Indeed, more remarkable is the fact that, as the title alludes, folks live — and have always lived — nearby for generations (including the filmmaker’s mother who carries the stigma of being born in a test site-adjacent village). And by focusing on the ecologists struggling to map the fallout, along with one particular family — a grandfather documenting collective memories, a son fighting for government intervention to keep his daughter alive, and a tween girl who’s never known a non-nuclear existence — a bigger picture of cataclysmic environmental damage emerges. One that will eventually come for us all. A few weeks before the doc’s North American debut (May 2nd), Filmmaker reached out to the Kazakh director to learn all about this uniquely personal and political film (and how a documentarian goes about crafting such with funding from an authoritarian government).

To read my interview visit Filmmaker magazine.