Ignacio Agüero Essay: Vague Visages’ Q.V. Hough on OVID’s streaming celebration of the Chilean documentarian.
“The Interpreters’ most powerful moments emerge when the subjects speak about achieving their goals. Their eyes light up, they exude pure joy. It’s a unique type of happiness that bursts through the screen.”
“‘For Madmen Only’ is essential viewing for comedy and improvisation hounds, but Ross must be praised for her ability to appeal to general audiences as well as hardcore scholars.”
EIFF 2021: Vague Visages’ Marc Nelson on the documentaries Bosco, The Gig Is Up, Faceless and Radiograph of a Family.
Memory and Style: The Threads of a Collective Experience in Marcel Ophuls’ ‘The Sorrow and the Pity’
“‘The Sorrow and the Pity’ is surgical and functional, yet unquestionably a reflection of the imagination of an artist.”
“‘Reconciliation’ exists in a curious middle ground, stuck between the effectiveness of its craft and touching, humanist storytelling and the wider narrative desires that pull both artists and audiences to these stories.”
“In today’s world of carefully crafted film industry personas, ‘Searching for Mr. Rugoff’ stands out with its character study about an art house fanatic who embraced the beautiful chaos of being a curious cinephile.”
What happened to Ron Artest after the events shown in ‘Untold: Malice at the Palace’? This free-to-read article provides an update on the Netflix documentary subject.
“One of the most enjoyable aspects of ‘No Straight Lines: The Rise of Queer Comics’ is evident again and again in the close-knit support shared among the ‘elder statespeople.'”
“In Paris on a night in 2012, or from a screen in 2021, one may see in Ingrid Caven’s ecstatic performance something that touches the raptures.”