Every year the International Documentary Film Festival Amsterdam (Nov 18-29) invites a key documentarian to make a list of non-fiction films to screen in the festival. In the past they've gone to the likes of Werner Herzog, Krzysztof Kieslowski, Ulrich Seidl, Heddy Honigmann and Rithy Panh. Morris’s Top 10 picks, below, include films by Herzog and Luis Bunuel. Morris will also conduct a Master Class moderated by doc maven Bill Nichols. And Idfa will also show six Morris films starting with his first, "Gates of Heaven" (1978), and running through "The Thin Blue Line," "Fast Cheap And Out Of Control," "Mr. Death: The Rise And Fall Of Fred A. Leuchter, Jr.," his Oscar-winning "The Fog Of War," the hilarious "Tabloid" and confounding "The Unknown Known." Morris's full list goes back in time and does not include all usual suspects; it leans toward the avant-garde. I share his love...
- 10/2/2015
- by Anne Thompson
- Thompson on Hollywood
Read More: Interview: Errol Morris Talks His Criterion Releases, Why 'The Unknown Known' Is "Superior" To 'Fog Of War' & More The 2015 International Documentary Film Festival Amsterdam (Idfa) is partnering with documentary pioneer Errol Morris for this year's Top 10 and retrospective programs. The filmmaker behind "The Thin Blue Line" has selected 10 documentaries by prominent directors with a reputation for innovation within the documentary genre. The selection includes work by the likes of Chris Marker, Dziga Vertov, Frederick Wiseman and Kazuo Hara. On Friday, 20 November, Morris will elaborate on the choices in his Top 10 at a masterclass chaired by American film theoretician Bill Nichols. Morris' Top 10 program includes: "Bright Leaves" (USA, 2002) by Ross McElwee"Fata Morgana" (Germany, 1971) by Werner Herzog"It Felt Like a Kiss" (UK, 2009) by Adam Curtis"Land Without Bread" (Spain, 1932) by...
- 9/29/2015
- by Zack Sharf
- Indiewire
The festival will screen ten films picked by the Us filmmaker, who will also take part in a masterclass.
Errol Morris, the reverred documentary filmmaker, has revealed his top 10 programme for this year’s International Documentary Film Festival Amsterdam (Nov 18-29).
Each year, the festival invites an important figure in the world of documentary to compile a list of ten important works of factual film, all of which will be screened as part of the programme.
Morris’ selections include Werner Herzog’s surreal Fata Morgana, which is set in the Sahara Desert and features an exclusively Leonard Cohen soundtrack, and Dziga Vertov’s experimental early film Man With A Movie Camera.
Idfa will also show six of Morris’ films including his 1978 debut Gates of Heaven and his seminal investigative piece The Thin Blue Line.
Further screenings of his films will be: Fast Cheap And Out Of Control; Mr. Death: The Rise And Fall Of Fred A...
Errol Morris, the reverred documentary filmmaker, has revealed his top 10 programme for this year’s International Documentary Film Festival Amsterdam (Nov 18-29).
Each year, the festival invites an important figure in the world of documentary to compile a list of ten important works of factual film, all of which will be screened as part of the programme.
Morris’ selections include Werner Herzog’s surreal Fata Morgana, which is set in the Sahara Desert and features an exclusively Leonard Cohen soundtrack, and Dziga Vertov’s experimental early film Man With A Movie Camera.
Idfa will also show six of Morris’ films including his 1978 debut Gates of Heaven and his seminal investigative piece The Thin Blue Line.
Further screenings of his films will be: Fast Cheap And Out Of Control; Mr. Death: The Rise And Fall Of Fred A...
- 9/29/2015
- ScreenDaily
Anthony Mann
As much as any other filmmaker who found a niche in a given genre, in the 10 Westerns Anthony Mann directed from 1950 to 1958 he carved out a place in film history as one who not only reveled in the conventions of that particular form, but also as one who imbued in it a distinct aesthetic and narrative approach. In doing so, Mann created Westerns that were simultaneously about the making of the West as a historical phenomenon, as well as about the making of its own developing cinematic genus. At the same time, he also established the traits that would define his auteur status, formal devices that lend his work the qualities of a director who enjoyed, understood, and readily exploited and manipulated a type of film's essential features.
Though he made several fine pictures outside the Western, Mann as an American auteur is most notably recognized for his work in this field,...
As much as any other filmmaker who found a niche in a given genre, in the 10 Westerns Anthony Mann directed from 1950 to 1958 he carved out a place in film history as one who not only reveled in the conventions of that particular form, but also as one who imbued in it a distinct aesthetic and narrative approach. In doing so, Mann created Westerns that were simultaneously about the making of the West as a historical phenomenon, as well as about the making of its own developing cinematic genus. At the same time, he also established the traits that would define his auteur status, formal devices that lend his work the qualities of a director who enjoyed, understood, and readily exploited and manipulated a type of film's essential features.
Though he made several fine pictures outside the Western, Mann as an American auteur is most notably recognized for his work in this field,...
- 1/26/2015
- by Jeremy Carr
- MUBI
Whilst wading through Cph:dox’s mammoth non-fiction programme, I was oddly reminded of a line from one of the those well-thumbed works on documentary film you’re forced to read in college. In his Introduction to Documentary, one of Bill Nichols’ many attempts to define the slippery term is to say that, “Documentaries are what the organisations and institutions that produce them make.” Quite apart from Cph:dox’s own increasingly active role as a producer, it seems at once entirely appropriate and entirely banal to bring this perfectly circular adage to bear on a festival that carries the D-word in its very name: if a film showing at a documentary film festival is by definition a documentary film, how does it behave as such? Yet all banality aside, using the concept of the “documentary” in the capacity of a self-evident reading aid offers as good a way as any of...
- 12/2/2014
- by James Lattimer
- MUBI
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