Tag Archives: Documentary

Björk: Biophilia Live

13 Nov
A 50-year-old Björk gets celestial in the new concert film: Björk: Biophilia Live

Outlandish Icelandic performance artist Björk has long been a polarizing figure. When we think of the now-50-year-old musician, there are two things that cannot be denied. For one, the singer’s warbling high-pitched wails never fail to enchant. And two, she seems as youthful now as she did with the Sugarcubes nearly three decades ago.

Current generations may not remember the Cubes or even Björk’s foray into acting in Lars von Trier’s Dancer in the Dark, for which she won best actress at Cannes in 2000. Perhaps more notable is the notorious swan dress she wore to the Oscars in 2001. That dress, a bellwether of the singer’s fashion sensibility, is a benign infraction compared to the strange frock she dons in her new concert film, Björk: Biophilia Live. It looks like melted and oozing human breasts fused together. Think of the raw garishness of Lady Gaga’s meat dress, and you’d be close to imagining Björk’s latest foray into fashion freakiness. In the concert flick, she also sports a dramatic orange wig, reminiscent of Erykah Badu’s ‘do in Dave Chappelle’s Block Party. Björk is a baroque caricature, but her appearance is no longer a distraction once a song begins.  Continue reading

Last Days in Vietnam

8 Sep

published in Paste Magazine

 

<i>Last Days in Vietnam</i>

Beyond slavery (and Cvil Rights), the mistreatment of Native Americans and a woman’s right to vote, the Vietnam War might be the most ignominious stain on American history. Sure, the ongoing wars in Iraq and Afghanistan, same-sex equality and wealth disparity might make that list, too, in time, but Vietnam—a.k.a. the living-room war—fervently consumed the American conscience for over a decade. It was something new, too. The two Great Wars had us justly battling tyranny, championing the oppressed and righting wrongs on the road to freedom. Korea was something else, something more complex, something that appeared to be in the same arena of righteous and yet, it was really a Cold War bellwether delineating the fractious ideological divide between democracy and communism. Tough lessons were learned from that war, but Vietnam, in an era of burgeoning liberalism, free love and racial integration in the wake of Ozzie and Harrietidealism—and further inflamed by the mandatory enlistment for the draft—touched off a cascade of social unrest and activism that caused the United States to reconsider its foreign policy, something that has rippled forward to the wars that confront the U.S. currently.   Continue reading

To Be Takei

20 Aug
George Takei's personality carries the documentary To Be Takei

The flick begins as a lazy fandom hagiography of sorts, but it develops into something much more as Takei, taking the narrative reins, delves into his struggles: first, as a young Asian male in America and his perseverance through the injustice he suffered as a Japanese American during the Second World War and later, as a gay man coming out to support Proposition 8 in California.  Continue reading

Dinosaur 13

16 Aug

 

<i>Dinosaur 13</i>

It’s hard, if not impossible, to believe that relic hunting really could be as thrilling, exciting or harrowing as depicted in the Raiders of the Lost Ark movies, after all, what is it that most paleontologist do but chisel and sweep away bits of stone from fossilized bone, right? And while that remains largely at the core of Todd Douglas Miller’s dino hunter doc, there’s a grisly eruption in the middle; a Brontosaurus big “What the Fuck” if you will, that shoots the somber dusting and digging off into a disturbing web of jurisdiction abuse, injustice and tangled land and property rights.

Back in 1990, the Black Hills Institute of Geographical Research in South Dakota, essentially a group of dino-loving paleontologists without Ph.Ds or academic grants, discovered the most complete and largest Tyrannosaurus Rex skeleton to date. Priorly, only twelve had been found—lucky number 13! The find was purely accidental, a flat tire, heavy fog and further unfortunate tidings had the crew heading to town to get the SUV fixed but one, Susan Hendrickson, decided to remain and mill about the weather-worn ravines of the Dakota Black Hills. That’s when lightning struck.  Continue reading

Underwater Dreams

13 Jul

July 12, 2014

 

<i>Underwater Dreams</i>

Mary Mazzio’s brief but touching pic about five Latin high school boys from an impoverished, landlocked town in Arizona who enter a NASA/Navy sponsored underwater robotics competition, taking on titans like MIT with Exxon sponsorship behind them, percolates with keen social insight that otherwise might have gotten lost in a rote, can-do underdog story. The two high school teachers who sought the opportunity decided to compete on the collegiate level because the disappointment of finishing far back would be mollified by the daunting impressiveness of the field. Had this been a Hollywood “based on” adaptation or a Hallmark fantasy, the Davey vs. Goliath drama would seem trumped up, maudlin and implausible, but as a straight-up documentary with talking heads from both sides of the engineering contest (the Arizona five and the vast MIT squad), it’s head-on, unadulterated and far more affecting than anything that could have been hatched in a studio lab.  Continue reading

La Bare

29 Jun

June 26, 2014

<i>La Bare</i>

La Bare, the male strip club that inspired Magic Mike, is the focus of Joe Manganiello’s breezy new documentary, which is fitting as Manganiello played “Big Dick Richie” in Steven Soderberg’s quirky 2010 spin on the biz. It’s also Manganiello’s first time behind the lens, and while the film is confidently shot and full of pomp and piss, it hardly gets underneath the well-oiled surface.

The legendary Dallas hotspot of the title has long roots reaching back into the ’70s. You can think of it as the Club 54 for ogling beefcakes—the gold standard of its time—and then, as the owner tells it, after 9/11, the business dried up and the establishment languished. Manganiello doesn’t dig so much into the extenuating circumstances or why the notorious American tragedy had such an impact—he’s more focused on the now and the wow and quickly jumps to happier times after an Eastern European emigre named Alex comes in and reboots the club by cleaning it up and bringing in a Las Vegas choreographer.   Continue reading

Indie DIY films Crystal Fairy and The Act of Killing

3 Aug

Indie DIY films ‘Crystal Fairy,’ ‘The Act of Killing’: two far-flung visions on the cheap

By Tom Meek
August 3, 2013

whitespace

For the second time this summer we find Michael Cera behaving badly in a bathroom. In “This is the End” he was effete and self-centered as he was orally pleasured by two nubile ingénues. Here, in “Crystal Fairy” as an American in Chile on a quest for the ultimate peyote, his Jamie has some flushing complications after a number two. This would be a conundrum for most, but Jamie happens to be stoned and hanging out with a few of his Chilean homies, so what’s a little stink among friends?

080313i Crystal FairyThe head trip objective runs the narrative arc fairly straight up, with a few scatological sprinkles and moronic lunacy along the way. In most every scene, Jamie’s shrieking hubris consumes the screen, and it doesn’t help that he can’t speak Spanish. As far as the project’s origins, you can almost see director Sebastián Silva and Cera cooking it up after coming down from an altered state: “Hey man, all we need is an investor or your indie famous mug on Kickstarter.” One-time child star Gaby Hoffman checks in as the title character continually at odds with Jamie. She’s a true free spirit, exemplified resoundingly as she drinks cocktails with the boys in the buff. Jamie, who sees her as an interloper, tells her to cover up, but no one else cares. So goes the movie. She’s tuned in, in touch and can speak the language; he’s just an ugly American. That’s the trip.  Continue reading

Before there was Darfur

29 Mar

Before there was Darfur

Around the world

By TOM MEEK  |  January 17, 2007

With the US bogged down in Iraq and anti-American sentiment sweeping the globe, it’s hard to find an affirmative story about our country’s place in the world. John Dau has one to tell. Ten years ago he was languishing in a refugee camp in Kenya; today he’s building a house, working on a college degree, and providing for the people he was formerly powerless to help. “This country has people who are kind, they like to help others,” says Dau of the US.

A graceful, 6’8” expatriate, Dau is the subject of God Grew Tired of Us, a documentary that chronicles the journey of several Sudanese “Lost Boys” brought to the US through relief agencies. The title of the film falls from Dau’s lips as he tries to rationalize the dire situations he and 27,000 other boys endured when civil war broke out in the Sudan during the ’80s. The Islamic north had made it a priority to target young males in the Christian south to cull off future fighters. As a result the boys banded together and fled, traveling more than 1000 miles to refugee camps in Ethiopia and Kenya. En route, disease, hunger, wild animals, and the enemy decimated their ranks. Dau, who had been forced to flee at the age of 13, was among 3000-plus Lost Boys chosen for resettlement in the US in 2000-’01.

Dau became the focus of the film by chance. “They list the names on a board, and when I was looking, I saw some journalist, people carrying cameras and I didn’t know anything to do with journalism before, so I thought that the government of United States might have sent these people.” The man with the camera was director Christopher Quinn. “He asked me if he could ask me a few questions, and I said, ‘Okay.’ I only thought it would be two or three, but I never got rid of him.”

The transition to a “better place” — he ended up in Syracuse, New York — was not without its pitfalls. At first, says Dau, “coming to America was like a honeymoon. Every day the helper came to our apartment to show us how to cook, to show us how to go to the grocery store.” But after three months, when he was required to start his first job, requests for aid back home started pouring in. “Many of the Lost Boys in Africa know that we are working, so they call us,” he says. “So here you are, you have money, and bills, and people in Africa. If you say no to them it is against our culture, so when you pay the bills it really pulls you down.”

Since then Dau, now 34 and married, has helped raise more than $180,000 for a health clinic in his homeland and in December was appointed director of the Sudan Project, which is raising funds to rebuild Southern Sudan. He also has a similarly titled book coming out and has applied for US citizenship. “When I was in Africa, I was there. Did I do anything?” says Dau passionately, “No. So it is better to be an American citizen and help people back there, and that is very important.”

Violence in Darfur is still severe, but for now there is peace between the north and south. Dau notes the situation’s tenuous nature and points to 2011, when the South Sudanese will vote to unify with the north or secede. “I will go back to campaign to secede. Be independent. That will cut off the problem,” he says. “Let’s live side by side as neighbors.”

God Grew Tired of Us

29 Mar

God Grew Tired of Us

A devastating and uplifting documentary

By TOM MEEK  |  January 17, 2007

Back in the ’80s, long before Darfur became a word linked with genocide in the Western media, the Islamic north waged a bloody campaign against the Christian farmers and tribesmen in the south, targeting young males. Known as the Lost Boys, some 27,000 youths fled more than 1000 miles to a UN refugee camp in Kenya. Along the way, many fell victim to hunger, lions, and enemy attacks. Eventually some 3600 made their way to the US. Narrated by Nicole Kidman, this documentary from Christopher Dillon Quinn and Tommy Walker follows a clutch of Lost Boys relocated to Pittsburgh and Syracuse. Their journey is telling of their culture, as well as our own. After the initial helping hand, many struggle to pay back their debt. And there’s the duress of isolation and not knowing whether family members are alive. John Dau, the film’s main subject, is an affable soul, full of wisdom and hope. After so much devastation, his grace and perseverance is an uplifting example for all.

Boxing Gym

20 Mar

Review: Boxing Gym

Frederick Wiseman serves up blood, sweat, and hypnotic cadences

By TOM MEEK  |  November 11, 2010

Whatever his subject matter, documentarian Frederick Wiseman has always been concerned with blood and sweat. La Danse, his 2009 look at the grueling rehearsal routine at the Paris Opera Ballet, is emblematic. Boxing Gym moves in a similar direction as he sets up his camera in a dingy Austin establishment. Owner Richard Lord, a former boxer with a Texas drawl and a rattail, treats all his patrons (pros and amateurs who span sex, age, race, and socio-economic strata) with equal care and respect. And despite the violent nature of the sport, Lord’s dogma of rhythm, footwork, and conditioning is delivered in a calm, avuncular tenor. Wiseman records the rituals of repetition (speed bag and footwork) in poetic long shots that often have two pugilists side by side, each unaware of the other. The cadence is both primal and hypnotic.