When the revolution comes, Brothers and Sisters, the first bastards up against the wall will be those in a Che Guevara t-shirt!

And judging from Chevolution, that will be one long line of people.

Alberto Korda’s photos of Che (and perhaps even more widely known, the stencil/pop art images of Che by artist Jim Fitzpatrick ) are among the most memorable and ubiquitous images of the twentieth century. Chevolution gives us a look at who Che was, what he means to different people, and the complicated history of the use of Korda’s images by artists, activists, politics, and commerce. Even if you are familiar with the life of Che, the story of his image (and the questions the film asks about the meaning of its use) will give you plenty to think about.

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As always, the disclaimer applies: This is a festival to which I have a substantial connection. I have volunteered for the past two years and sat on this year’s Selection Committee. I wrote for the festival catalog and will likely be introducing some of the filmmakers and subjects at the festival. Feel free to adjust for my bias. My blog reportage and opinions, however, do not represent the views of AFI or the SILVERDOCS festival, the Selection Committee, or of any of their staff. No one should construe anything expressed on this site as being endorsed or supported by AFI, SILVERDOCS or anybody other than me.

Werner Herzog brings his unique perspective–and his cameras–to one of the most isolated places on earth, the McMurdo station, Antartica. From the unusual characters who choose to live at the South Pole to the miraculous life in the ocean under the ice (hence the title), Herzog pursues his own idiosyncratic interests in Encounters at the End of the World.

Herzog’s questions lead to cinematic meditations on human extinction, on community and isolation, and on the wonders of the natural world–all with images that amaze, amuse, and inform. Simply stunning, this film is work from a master filmmaker and was a privilege to watch.

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As always, the disclaimer applies: This is a festival to which I have a substantial connection. I have volunteered for the past two years and sat on this year’s Selection Committee. I wrote for the festival catalog and will likely be introducing some of the filmmakers and subjects at the festival. Feel free to adjust for my bias. My blog reportage and opinions, however, do not represent the views of AFI or the SILVERDOCS festival, the Selection Committee, or of any of their staff. No one should construe anything expressed on this site as being endorsed or supported by AFI, SILVERDOCS or anybody other than me.

In 2004, author Norma Khouri was accused of perpetrating a literary hoax of immense proportions. Khouri’s 2003 book Forbidden Love told the story of an honor killing in Jordan and helped raise public awareness about the horrific practice. From her home in Australia, Khouri became the face of a movement to move the UN and others to condemn honor killings and to urge countries to put an end to the practice. As it turned out that Khouri was not who and what she originally seemed, doubts and explanations multiplied into a fog of suspicion and confusion. Was this a case of literary license, cynical exploitation, or something else entirely?

Anna Broinowski’s terrific film, Forbidden Lie$, looks at Khouri’s story, and attempts to untangle the many threads–fact, fiction, con, hoax, art–that surround Khouri, her book, and her detractors. Khouri is a strong presence in the film, and her interactions with the filmmaker raise new questions, spin new stories and result in a trip to Jordan where Khouri attempts to prove her veracity.

Khouri is mesmerizing, but is it the passion of an activist or the seduction of a con artist that draws us in? A running poll on the film’s website shows that opinions continue to differ. Wander into the tangled web and make up your own mind!

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As always, the disclaimer applies: This is a festival to which I have a substantial connection. I have volunteered for the past two years and sat on this year’s Selection Committee. I wrote for the festival catalog and will likely be introducing some of the filmmakers and subjects at the festival. Feel free to adjust for my bias. My blog reportage and opinions, however, do not represent the views of AFI or the SILVERDOCS festival, the Selection Committee, or of any of their staff. No one should construe anything expressed on this site as being endorsed or supported by AFI, SILVERDOCS or anybody other than me.

Yep. And even if you aren’t a 12 year old boy–which is to say that you are not inclined to see a film just because someone will be doing brain surgery using the same kind of cordless power drill you have in the garage–there are plenty of other reasons to make sure you see The English Surgeon.

Filmmaker Geoffrey Smith follows British neurosurgeon Henry Marsh as he travels to Ukraine to work with his friend and colleague Igor Kurilets. The state of medicine in Ukraine is, like much of the country’s infrastructure, severely deficient. Marsh brings expertise and equipment to assist Kurilets in serving patients, many of whom have had inadequate or no treatment.

The soulful Dr. Marsh brings a gravity all his own to the film. His own demons never far from his elbow, Marsh works to exhaustion, often seeing patients whose lives could have been saved if only they were able to receive treatment earlier. While the stories of patients are gripping, it is the relationships Marsh forms with Kurilets, his patients, and the patients’ families that will stay with you. An excellent soundtrack by Nick Cave and Warren Ellis is just a sweet, sweet bonus.

Screening twice at SILVERDOCS, both the director and Dr. Marsh will be available for Q&A after the shows. Though I have seen the film twice, I look forward to hearing the two men talk about the film.

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As always, the disclaimer applies: This is a festival to which I have a substantial connection. I have volunteered for the past two years and sat on this year’s Selection Committee. I wrote for the festival catalog and will likely be introducing some of the filmmakers and subjects at the festival. Feel free to adjust for my bias. My blog reportage and opinions, however, do not represent the views of AFI or the SILVERDOCS festival, the Selection Committee, or of any of their staff. No one should construe anything expressed on this site as being endorsed or supported by AFI, SILVERDOCS or anybody other than me.

In my interview with Sky Sitney, she remarked that SILVERDOCS “tries to expand the experience beyond just on-screen.” To that end, there are a number of special events, talks, and social events scheduled during the 8-day festival.

Music plays a special role at SILVERDOCS, as the festival has an award track geared specifically for films about music. So, several of the films have musicians performing in conjunction with a screening. Top on my list is banjo virtuoso Béla Fleck, who will be performing with Cheick Hamala Diabaté on Tuesday following the showing of “Throw Down Your Heart,” a film that explores the African origin of the banjo.

In addition, I will be excited to see Jason Crigler, the musician who is the subject of the film “Life. Support. Music.” He will perform Saturday night, following a showing of the film, which documents his struggle to survive following a massive cerebral hemorrhage in 2004.

Many of the films are followed by panel discussions or Q&A sessions with the filmmaker and film subjects. Particularly notable: NPR correspondent Tom Gjelten moderates a panel that includes, inter alia, director Michael Christoffersen and former Supreme Commander Allied Powers Europe of NATO General Wesley Clark, following a showing of “Milosevic on Trial” on Tuesday.

As we noted earlier, SILVERDOCS aspires to be an open and intimate festival, so remember that the panels aren’t the only place to meet and interact with mediamakers and other industry folks. Among those who will be in Silver Spring next week are legendary filmmaker Spike Lee, Oscar-winning director Alex Gibney; NPR’s Neal Conan; Dr. James Orbinski, the Past President of Médecins Sans Frontières; and Sundance award-winning cinematographer and director Ellen Kuras.

And finally, if I can’t stand being inside for one more minute, there are two outside events that should be a lot of fun. Both take place towards the end of the week. Friday night will feature an outdoor screening of a 1964 film by Direct Cinema maestros David and Albert Maysles. “What’s Happening! The Beatles in the U.S.A.” manages to capture an intimate portrait of the Beatles just before they blew up to international mega-stardom.

Then on Saturday comes an exhibition soccer match by the U.S. Homeless World Cup Team following the afternoon screening of the film “Kicking It,” which tells the story of six teams at the 2006 Homeless World Cup in Cape Town, South Africa.

Whew. I’d better rest up.

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As always, the disclaimer applies: This is a festival to which I have a substantial connection. I have volunteered for the past two years and sat on this year’s Selection Committee. I wrote for the festival catalog and will likely be introducing some of the filmmakers and subjects at the festival. Feel free to adjust for my bias. My blog reportage and opinions, however, do not represent the views of AFI or the SILVERDOCS festival, the Selection Committee, or of any of their staff. No one should construe anything expressed on this site as being endorsed or supported by AFI, SILVERDOCS or anybody other than me.