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To further that ambition, they collaborated with another friend, Sophia, on a surreal road movie called Shirkers, which would be directed by Tan’s mentor, an older teacher named Georges who carried himself as someone who knew his way around a movie camera. Tan narrates the documentary as a memory piece, recounting her childhood in Singapore with her best friend Jasmine, where they were the two cool kids in their pretty square school, dreaming of being filmmakers and leaving their mark. Quite the contrary, her movie is refreshingly candid and self-critical: She may be the star of the show, but she has a story to tell and the right perspective to frame it properly. In Shirkers, novelist Sandi Tan accomplishes that trickiest of endeavors, directing a documentary about herself that isn’t cloying or cringe-worthy. Making sense of one’s past can be both a lifelong undertaking and a thorny proposition. As her dad’s memory dissipates along with his ability to take care of himself, Dick Johnson Is Dead caters less to Dick’s need to preserve some sense of immortality than to his daughter’s need, all of our need, to let go. The more Johnson loses herself in the project, spending more effort consulting stunt people and art directors and assorted crew members than her own dad (sitting peacefully on set, usually napping, never being much of a bother), the more she realizes she may be exploiting someone she loves-someone who is beginning to show the alarming signs of dementia and can no longer fully grasp the high concept to which he once agreed-to assuage her own anxiety. Her impetus, she reluctantly acknowledges, is partly selfish as she decides to help acquaint her father with the end of his life, reenacting in lavish cinematic vignettes the many ways in which he could go out, from falling air conditioner unit, to nail-festooned 2×4 to the face, to your run-of-the-mill tumble down the stairs, replete with broken neck. And the time when she must do so looms closer and closer. It helps that Dick Johnson is a mellifluous soul, an incessantly warm and beaming man surrounded by friends and colleagues and acquaintances who all uniformly, genuinely love him, but from its opening shots, Johnson makes it clear that her father’s wonderful nature will only make saying goodbye to him that much more difficult. With her follow-up, Dick Johnson Is Dead, Johnson continues to interrogate that fragility, crafting a deeply personal ode to that over which she has no control: her father’s death. If every great documentary is about the responsibility of observation, then Kirsten Johnson’s Cameraperson is also about the fragility of that observation. There’s no interpreter, no one to explain Baldwin but Baldwin-and this is how it should be. The pleasure of sitting with Baldwin’s words, and his words alone, is exquisite. His decision to steer away from the usual documentary format, where respected minds comment on a subject, creates a sense of intimacy difficult to inspire in films like this. Peck could have done little else besides give us this feeling, placing us squarely in the presence of Baldwin, and I Am Not Your Negro would have likely still been a success. And so I Am Not Your Negro is not just a portrait of an artist, but a portrait of mourning-what it looks, sounds and feels like to lose friends, and to do so with the whole world watching (and with so much of America refusing to understand how it happened, and why it will keep happening). Baldwin’s overwhelming pain is as much the subject of the film as his intellect.
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All three black men were assassinated within five years of each other, and we learn in the film that Baldwin was not just concerned about these losses as terrible blows to the Civil Rights movement, but deeply cared for the wives and children of the men who were murdered. Raoul Peck focuses on James Baldwin’s unfinished book Remember This House, a work that would have memorialized three of his friends, Martin Luther King Jr., Malcolm X and Medgar Evers. Mucho Mucho Amor: The Legend of Walter Mercadoģ9.
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Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese