With films like The Black Power Mixtape 1967–1975 (2011) and Concerning Violence (2014), Swedish filmmaker Göran Hugo Olsson has become known for his
Archival Storytelling
Few filmmakers have as recognizable a style as Bill Morrison. Those with even a passing familiarity with his work will think of degraded film stock
“I don’t think of myself as a documentary filmmaker”: Documentary spoke with Kienitz Wilkins to discuss his methodology, his thoughts on documentary’s relationship to his work, and the festival landscape at large.
Director Song Won-geun discusses historical documentary filmmaking and storytelling with specificity in relation to his film, “Panmunjom: The Front Lines of Ideology.” Song wanted to “explore Panmunjom as a truce site that hasn’t changed much for 70 years, without necessarily taking sides or seeing it through the lens of another powerful country.”
On a warm May evening, the opening ceremony of the 14th edition of the Taiwan International Documentary Festival (TIDF) was teeming with euphoria
Charlie Shackleton describes “The Afterlight” as “a film that’s designed to be lost.” It deliberately exists as a single 35mm print that will naturally degrade over time and with every showing. But recently, the film was lost in a different way than intended. Documentary spoke with Shackleton about the logistics of the accidental loss of the film and its subsequent recovery.
Kirsten Johnson has been a cinematographer and director since the 1980s. Her acclaimed films as a director include The Above (short, 2015)
An interview with two organizers of the Archival Producers Alliance on how AI will shake up the nature of archival footage For the first decades of
Documentary director and producer Nicole Newnham still remembers finding, as a young teenager, a copy in her mother’s bedside table of taboo-breaking
In Ben Klein and Violet Columbus’ 2022 Sundance-premiering documentary, The Exiles, the filmmakers follow filmmaker Christine Choy as she reconnects