Am excitedly waiting to go see Stages, a film made by Meerkat Media, a collaborative, non-hierarchical media collective. Am hoping to catch up with one or more of the filmmakers for an interview about their process.

UPDATE: I had to leave after about 45 minutes due to a scheduling conflict, but was really impressed by what I saw and I look forward to seeing the final version. Not only was the rough cut remarkably coherent (remember, collaborative collective!), but it was quite moving. In addition, the energy and passion of the filmmakers themselves is enough to get me to go see everything they do. I am filled with regret that I wasn’t there for the discussion following the screening.

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.