Trinh T. Minh-ha has made a career of working between disciplinestroubling the foundational precepts of both anthropology and documentary. Her first film Reassemblage (1982), and her written critical analysis of ethnographic methods, effectively shaped a generation of debate over feminism, racism, empiricism, and colonialism in nonfiction filmmaking.
For exactly one afternoon last month, the streets of Toronto were abuzz with a question: Why was Bertrand Bonello’s Nocturama not selected for the New York Film Festival?
For the better part of the past decade the Ridgewood, New York-based filmmaker John Wilson has been churning out short documentaries that catch reality unawares (usually at its most bizarre and/or embarrassing).
As the devastating effects of neoliberalism are painfully incurred even by those (middle) classes once immune to the abuses of capital, the bygone world of applied Marxism is seeing a resurgence; consequently, its nuances have started to slowly emerge.