
Articles
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1 week ago |
documentary.org | Lauren Wissot
Suzannah Herbert’s Natchez is a multilayered, character-driven look at the titular town in Mississippi (U.S.), which is wholly dependent on a declining industry. In this case, the manufacturing is of whitewashed tales that have turned into hardened history.
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2 weeks ago |
filmmakermagazine.com | Lauren Wissot
Back to selection by Lauren Wissot in Directors, Interviews on Jun 8, 2025 Docuseries, Mrs. America, Penny Lane, Tribeca Festival 2025 Kudos to Anonymous Content for putting together a project focused on the most wholesome of beauty pageants and thinking, “We need the director of Hail, Satan?
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3 weeks ago |
filmmakermagazine.com | Lauren Wissot
Back to selection by Lauren Wissot in Directors, Interviews on Jun 6, 2025 Documentary, Jens Haaning, Ole Juncker, Take the Money and Run, Tribeca Festival 2025 Ole Juncker’s Tribeca-premiering Take the Money and Run follows Jens Haaning, a Danish conceptual artist to whom the Kunsten Museum of Modern Art Aalborg loaned $83,000 — money that was to be tangibly incorporated into a specific commission for their 2021 group exhibition centered on the future of working life.
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1 month ago |
globalcomment.com | Lauren Wissot
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.” Indeed, the film – which debuted at...
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1 month ago |
indiewire.com | Lauren Wissot
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.
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