On Her Shoulders This documentary profiles human rights activist Nadia Murad, a Yazidi Kurd in Iraq who was forced into slavery by ISIS. Jarecki attends the screening, part of the closing-night program. Like the director’s other projects, this is intelligent and ambitious, but the cultural insights are too familiar to merit yet another trek through Presley’s troubled life. finger the King as a racial coward and a cultural thief. Rock critic Greil Marcus argues that Presley embodied “the pursuit of happiness,” whereas Van Jones and Chuck D. This new project may sound a little more fun-the filmmaker takes off in a 1963 Rolls-Royce once owned by Elvis Presley, telling the singer’s life story as he rolls through Tupelo, Memphis, Nashville, New York, Hollywood, and Las Vegas-but ultimately Elvis serves as a metaphor for American decline. The King Eugene Jarecki has directed two of the most extraordinary political documentaries of the new century: Why We Fight (2005), a 40-year history of the military-industrial complex, and The House I Live In (2011), exposing the tragedy of the U.S. Like Joshua Oppenheimer’s acclaimed 2012 documentary The Act of Killing, this one dares viewers to recognize the sad humanity of those who commit atrocities and the furious humanity of loved ones who thirst for revenge sitting calmly between these two groups are the torture survivors, whose suffering seems to have won them a preternatural wisdom. Tales of kidnapping, torture, and execution accumulate as González moves from witness to witness, their faces concealed by plain brown wrestling masks by contrast, the questions serve to unmask them emotionally, especially the guilt-ridden cartel soldiers. Devil’s Freedomĭevil’s Freedom Hard to watch and harder to forget, this chilling documentary by Everardo González gathers first-person testimony from the victims and perpetrators of drug cartel violence in Mexico.
Greene takes questions by Skype after the screening. The impressive scope recalls some of Frederick Wiseman’s panoramic community portraits ( Aspen Belfast, Maine), but the mosaiclike approach is fresh and surprising. Greene also thoroughly considers the town’s diverse population, interviewing artists, retirees, government employees, law enforcement agents, and members of the working class. The film is rich and multifaceted, as Greene employs an array of styles (historical reenactments, direct cinema-style portraiture, musical numbers) to investigate the complex relationship between Bisbee’s past and present. Jonesīisbee ’17 Documentary maker Robert Greene ( Actress, Kate Plays Christine) surveys the title Arizona town on the 100th anniversary of the Bisbee Deportation of 1917, when a sheriff’s posse of more than 2,000 men rounded up nearly 1,200 striking copper miners (most of them immigrants) and left them to die in the New Mexico desert. The festival runs Thursday through Sunday, April 5 through 8, and tickets are $16 for more information visit. We’ve reviewed six of the ten features below. That binary strategy continues this year with, on the one hand, portraits of Elvis Presley (The King ), Ruth Bader Ginsberg (RBG ), and Fred Rogers (Won’t You Be My Neighbor, already sold out) and, on the other, studies of drug cartel violence (Devil’s Freedom ) and the breakup of Yugoslavia (The Other Side of Everything ). , Casting JonBenet ) and more challenging work from around the world ( The Cinema Travelers, Death in the Terminal ).
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