Category Archives: Documentary films

South review – startling filmed record of Shackleton’s gruelling Antarctic odyssey

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Frank Hurley’s 1919 silent footage turns Sir Ernest Shackleton’s gruelling expedition into a travelogue with cute penguins

Pioneering Australian photographer and film-maker Frank Hurley was the official witness to Sir Ernest Shackleton’s gruelling expedition attempting to cross the Antarctic landmass, which lasted three years from 1914 to 1917. For most of the time the crew were utterly cut off from news of the outside world and the expedition became an epic ordeal when, on the way there, their ship (aptly named Endurance) was crushed and sunk by pack ice. Shackleton and his men were forced to journey onwards in a lifeboat in the desolate cold, finally to South Georgia, then rescued and brought by a Chilean vessel to the harbour in Valparaíso where they were accorded a hero’s welcome.

This 1919 silent movie is Hurley’s filmed record of Shackleton’s voyage and what is startling about it is its weird tonal obtuseness: so often it feels like a home-movie travelogue in which the mood is bafflingly jaunty. Towards the end of the film, just at the point when their lives have been saved and disaster averted, the film spends about 10 minutes on the adorable behaviour of the penguins. This is at the moment when Shackleton’s victory was said to consist simply in his heroic survival, the expedition itself having, of course, been a failure, but the film simply sets aside the obvious poignant or tragic dimension.

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Taming the Garden review – fascinating study of a billionaire’s destructive folly

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Salomé Jashi’s film follows the journey of hundreds of mature trees as they are uprooted across Georgia to populate a rich man’s garden

Like a sad, greedy king in some fairytale or parable, the Georgian billionaire and former prime minister Bidzina Ivanishvili set out, six years ago, to buy and uproot hundreds of magnificent mature trees and transport them at colossal expense and difficulty across Georgia to be transplanted in his own huge private garden. It sometimes involves taking a tree by water, along the Black Sea coast – a truly surreal image.

Salomé Jashi’s fascinating and deadpan film shows, in a series of tableau-type shots, the effect that these purchases are having up and down the land. Local workers squabble among themselves at the dangerous, strenuous, but nonetheless lucrative job of digging them up. The landowners and communities brood on the sizeable sums of money they are getting paid and Ivanishvili’s promises that roads will also be built. But at the moment of truth, they are desolate when the Faustian bargain must be settled and the huge, ugly haulage trucks come to take their trees away in giant “pots” of earth, as if part of their natural soul is being confiscated. (Surely at least some of these trees will have died en route, although this is not revealed.)

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Evan Rachel Wood accuses Marilyn Manson of raping her on music video set

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In a new documentary premiered at Sundance, Wood claimed she was ‘coerced into a commercial sex act under false pretences’

The actor Evan Rachel Wood has accused the rock musician Marilyn Manson of raping her on the set of the music video for his 2007 single Heart-Shaped Glasses (When the Heart Guides the Hand).

In Phoenix Rising, a new documentary about her life and career which premiered at the 2022 Sundance film festival, Wood said that during a previously discussed “simulated sex scene”, Manson “started penetrating me for real” once the cameras were rolling.

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There Will Be No More Night review – chilling meditation on modern warfare

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Éléonore Weber’s documentary, air-strike footage of pilots on night missions, could work well in a gallery

This hypnotic meditation on modern warfare from Éléonore Weber is an experimental cine-essay that feels closer to a gallery installation than a documentary. Watching it is a bit of a test of concentration: 75 minutes of helicopter airstrike footage from American and French missions in Iraq and Afghanistan. Clip after clip of pilots following what’s on the ground hundreds of metres below. Who is that in their crosshairs: a Taliban fighter holding a Kalashnikov or a farmer with a rake? Farmers know that they get mistaken for fighters, so run and hide their tools when they hear helicopters. Which of course makes them look suspicious.

In the cockpit, we hear American voices: “Request permission to engage.” “We got a guy with an RPG.” This is the notorious video WikiLeaks dubbed Collateral Murder, a US airstrike filmed from an Apache helicopter in 2007. The rocket-propelled grenade launcher turned out to be a camera tripod belonging to a Reuters photographer, who was one of a dozen civilians killed in the attack. It’s impossible to watch and not think of computer games. “Kill! Kill! Kill” we hear in another video – you can almost feel the itch to shoot everything that moves.

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US film-maker faces trial in Italy after testifying in tainted blood scandal case

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Kelly Duda faces fascist-era charge of ‘offending the honour or prestige’ of prosecutor in case alarming free speech advocates

An American film-maker has been put on trial in Italy for “offending the honour or prestige” of an Italian prosecutor after testifying in a criminal case against a former health ministry chief and representatives of a pharmaceutical company accused of supplying Italians with tainted blood products.

Kelly Duda, who revealed how contaminated blood taken from prisoners in Arkansas was sold around the world, faces up to three years in prison if found guilty of an offence that dates back to Italy’s fascist period.

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President review – an intimate look at Zimbabwe’s collective cry for democracy freedom

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Camilla Nielsson’s thrilling documentary takes a behind-the-scenes look at the 2018 election that followed the ousting of Robert Mugabe

“A free, fair and credible election.” These words of promise echo throughout Camilla Nielsson’s riveting documentary, capturing the fervour of the 2018 presidential vote in Zimbabwe, the country’s first without Robert Mugabe since its independence.

While opening with the rip-roaring rallies for Nelson Chamisa, who is running for the presidency against the incumbent Emmerson Mnangagwa, Mugabe’s former aide, President is more than an intimate portrait of a charismatic opposition leader. Considering the fraudulent electoral practices that existed under Mugabe’s 30-year reign, this election concretises a collective cry for democracy to triumph over decades of corruption and lies. Such a desire, alas, comes with blood, sweat and tears.

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‘I kept saying – don’t worry Luma, we see you’: Andrea Arnold on her four years filming a cow

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The Oscar-winning director’s new documentary explores warmth, joy and anger through the eyes of a farmyard animal. She reveals what it taught her about life

Andrea Arnold’s films are known for their spare dialogue, and in her first documentary it is more pared-backed than ever: Cow consists of 94 minutes of moos, with the odd off-camera interjection from farmhands. It is hardly a thriller (though the ending is pure Tarantino). But it is one of the most beautifully crafted and tender portraits of a life you are likely to see.

Arnold, who started her professional life as a rollerskating TV presenter on the children’s Saturday show No 73, began thinking about documenting an animal’s life nine years ago. Eventually she settled on a cow. “I thought a cow would be interesting because they work so hard, getting pregnant and giving milk their entire lives. It’s a huge job they do.” She chose Luma because she was told she had a big personality and was feisty. Arnold and her team spent four years, on and off, filming her. Why did she make Cow? “I wanted to show a non-human consciousness. I was intrigued as to whether we would be able to see her consciousness if we followed her long enough.”

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‘I could have done with eight more hours’: readers on the Beatles documentary epic Get Back

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Peter Jackson spent four years editing down 60 hours of unseen footage into the new three-part documentary series. Was it worth the wait?

As a younger Beatles fan who grew up with the idea that the band were falling apart in January 1969, Get Back was a joy. My immediate thought was how bright and vibrant everything looked, compared with the graininess of the original Let It Be film. It could have been shot yesterday – apart from the outfits and hairstyles. While not exactly a big revelation for those of us who never believed that Yoko Ono broke up the Beatles, it’s great to see that her presence here didn’t upset Paul, George and Ringo nearly as much as it seemed to upset commentators. We see absolutely no evidence of her “interfering”, as has been claimed over the years, and I loved McCartney’s prescient remark that in 50 years’ time people would be saying the Beatles broke up “because Yoko sat on an amp”.

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The world owes Yoko an apology! 10 things we learned from The Beatles: Get Back

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Peter Jackson’s eight-hour documentary on the Fab Four reveals Ringo is an amazing drummer, McCartney was a joy and their entourage were coolest of all

The concept for Let It Be was: no concept. The Beatles arrived in an empty studio and wondered where the equipment was. (And revealed that they knew very little about setting up PA systems.) What were they rehearsing for? A show on the QE2? A concert on Primrose Hill? A TV special in Libya? A film? What would the set look like? Would it be made of plastic? Why, George Harrison wondered, were they being recorded? Get Back makes clear that the Beatles didn’t have a clue what to expect from Let It Be.

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‘It became crystal clear they were lying’: the man who made Germans admit complicity in the Holocaust

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With Final Account, the late director Luke Holland set out to obtain testimonies from those who participated in the Nazi atrocities – before their voices were lost. The result is a powerful mix of shame, denial and ghastly pride

One day in 2018, the prolific documentary producer John Battsek received a call from Diane Weyermann of Participant Media, asking him if he would travel to the East Sussex village of Ditchling to meet a 69-year-old director named Luke Holland. Weyermann said that Holland had spent several years interviewing hundreds of Germans who were in some way complicit in the Holocaust, from those whose homes neighboured the concentration camps to former members of the Waffen SS. The responses he captured ran the gamut from shame to denial to a ghastly kind of pride. Now he wanted to introduce these testimonies to a mainstream audience, and he needed help.

“Luke wasn’t consciously making a film,” Battsek says. “He was amassing an archive that he hoped would have a role to play for generations to come. We had to turn it into something that has a beginning, a middle and an end.” As soon as he saw Holland’s footage, he knew it was important: “It presented an audience with a new way into this.”

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The Six review – the Chinese survivors who were written out of the Titanic narrative

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Arthur Jones’s film seeks the stories of six Chinese men who survived the 1912 tragedy and finds undisguised western racism

What’s in a name? That evergreen question is complicated even further in Arthur Jones’s fascinating documentary, executive produced by James Cameron and informed by the research of marine historian Steven Schwankert. Following the Titanic sinking in 1912, the identities of the 700-odd survivors have been mostly claimed, except for those of six Chinese men – out of eight who boarded – who remained bizarrely neglected. This film chronicles Schwankert’s quest to unravel the mystery, as his arduous journey across the US, the UK, Canada, and China takes the shape of a detective story, where each revelation exposes the blatant racism of early 20th-century western politics.

Armed with a dock slip listing the names of the Titanic’s eight Chinese passengers, Schwankert and peers’ attempt to trace their origins runs into immediate difficulties, as most of their subjects changed their identities in order to sidestep cruel and discriminatory immigration regulations. These Titanic survivors arrived in the US looking to work as labourers, and under the provisions of the Chinese Exclusion Act they were shipped to other countries immediately after the sinking. Some disappeared without a trace. The only survivor whom the researchers were able to build a coherent narrative around was Fang Lang, who founded a business in the US by changing his name and working as a merchant, shielding himself from the Exclusion Act, which targeted manual labourers.

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‘It’s absolutely insane’: the US-based camp where Jews guarded Nazis

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Semi-animated Netflix documentary short reveals the secret story of the Jewish soldiers who watched over prisoners of war on US soil

Too vast in scope to be contained within war drama, the Holocaust movie constitutes an entire genre unto itself, collecting a potentially infinite number of tragedies great and small. The history of the 20th century’s most massive atrocity comes with thousands of footnotes now gradually expanded upon by media depicting the unsung courage and untold evil. Israeli documentary film-makers Daniel Sivan and Mor Loushy singled out one such extraordinary tale for their latest joint project, Netflix’s short film Camp Confidential, drawing attention to a highly covert military operation only recently released from behind redaction-marker bars. “The first thing is, when producers Benji and Jono Bergmann approached us with this and told us of the story, we didn’t believe it,” Sivan tells the Guardian. “It was just so out-there.”

The black-op facility tucked away in northern Virginia’s Fairfax county sounds like something out of a pulp paperback: Jewish soldiers, many of them refugees from the devastation in Europe, watched over Nazi prisoners of war in a surreally domestic setting. Known as PO Box 1142, it housed such notables as spymaster Reinhard Gehlen and rocket scientist Wernher von Braun. But those in charge of the base were also tasked with maintaining a baseline quality of life for the inmates, leading to bizarre scenes such as a department store outing with former members of the Third Reich to purchase unmentionables for their wives. Bulldozed after the war and buried in secrecy until the National Parks Service unearthed some remnants in the early 2000s, the clandestine camp now doubles as a cautionary tale for modern Jews and a memorial for those who came before them.

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Hating Peter Tatchell review – crusading activist’s greatest hits

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Ian McKellen, Stephen Fry and the former archbishop of Canterbury appear in a chummy documentary recounting the gay rights activist’s most outrageous stunts and impressive achievements

“My doctors have said very clearly: ‘No more head injuries.’” So says Peter Tatchell, one of the world’s most tenacious, divisive and necessary activists, as he prepares to fly to Moscow in 2018 to protest against state-sanctioned homophobia. The trip, which returns him to the city where he was beaten and arrested in 2007, forms one of the few present-tense sections of this greatest hits-style documentary. Tatchell has sustained numerous injuries from his lifetime of protest, though claims of memory loss are comically undermined during a kid-gloves interview with Ian McKellen. “Fifty two years of civil disobedience, Peter!” gasps the actor admiringly. “Fifty three now,” Tatchell replies, unable to resist the lure of being right.

As of this year, it’s 54. Tatchell was already an activist when he moved from Melbourne to London in 1971 at the age of 19. Among other achievements, he went on to stage the first gay rights protest in a communist country (East Germany, 1973), co-found the gay pressure group OutRage!, and attempt citizen’s arrests of Robert Mugabe (London, 1999 and Brussels, 2001). The former MP Chris Smith correctly identifies those run-ins with the Zimbabwean dictator as turning points which softened public hostility toward Tatchell.

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Ai Weiwei on the death of Diane Weyermann: ‘Like a bridge of hope washed away in the storm’

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The artist and film-maker remembers the pioneering documentary producer behind films such as RBG, The Square and An Inconvenient Truth, who has died aged 66

Diane has left. When someone close passes away, we feel that a part of ourselves left together with them. A part of our understanding of the world, a link in our interpersonal network, our previous value judgment and actions in the past have all been misplaced because of the passing of a close friend.

This sense of misplacement is sometimes very strong and clear, almost like the lack of a lit candle on the shore of a river or a pile of extinguished charcoal in cold weather. We cannot envisage it before people disappear from our life. When they do disappear, we suddenly become aware of the fact that the light and warmth, which vanished with their passing, are lost for ever. They are irreplaceable and will never return. No matter what happens in the future, whatever is lost is lost for ever.

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Female directors wait longer than men for their big break, report reveals

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A huge equality gap in top jobs and pay has been highlighted between women TV documentary-makers and male colleagues

Television documentary teams in Britain today are full of ambitious and capable women but most of them have to wait much longer than their male colleagues to become directors and earn a bigger wage.

The findings of the campaigning group We Are Doc Women (WADW), released this weekend, have revealed that gender equality is still a goal, not a reality, in factual programme-making.

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‘The heaven of film-making’: how a Dalit orphan got to tell her own story

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A gift of a camera inspired Belmaya Nepali to rise above poverty and abuse to make documentaries

• I Am Belmaya review

Belmaya Nepali’s life changed for ever when, at 14, she was given a camera.

The British film-maker Sue Carpenter had come to Pokhara, a tourist city in central Nepal, to run a photography project with disadvantaged girls living in an institution. One of those girls was Belmaya.

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Courage in a crisis: how everyday citizens coped with Covid across the world

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In a new Netflix documentary, the stories of activists and volunteers who stepped up to help during an impossible time are celebrated

The film-makers behind Convergence: Courage in a Crisis set out to make a documentary on the pandemic, not politics. But separating the pandemic from politics can be as difficult as convincing your anti-vaxxer aunt to log off Facebook.

Director Orlando von Einsiedel, alongside an ensemble of co-directors spread across the globe, from the US to India, began collaborating on the kaleidoscopic film in early April last year. They were capturing the uncertainty and the chaos, the apocalyptic emptiness of lockdowns, and the people who stepped up to help their communities; not just medical staff in underfunded and overwhelmed healthcare systems in places like Lima and London, but also those who stepped up to alleviate their burden.

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Baracoa review – a poetic journey through bittersweet childhood

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This part fiction, part documentary film captures the spontaneity of young friends Leonel and Antuàn

Directed by Pablo Briones, Sean Clark, and Jace Freeman, here is a film that blurs the lines between fiction and documentary as it accentuates bittersweet childhood connections, full of teases, mischief and innocent tenderness. Following Leonel and Antuàn, a pair of friends who grew up in the small Cuban town of Pueblo Textil, this mesmerising promenade through abandoned landscapes doubles as a journey to the cusp of adulthood.

With a script based on the real-life relationship and conversations between the two friends, Baracoa has an authentic spontaneity of children’s interactions so rarely captured in fiction films that rely on precocious child actors. The camera quietly observes the pair’s wanderings through ruined and deserted compounds whose austerity is transformed by the boys’ imagination. At one point, Leonel and Antuàn pretend to drive as they sit atop a broken down, rusted car frame. The moment is poetic, yet also full of melancholy. Soon, they will not find such childish daydreams so entertaining.

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‘She went her own way’: the tragic and unusual life of folk singer Karen Dalton

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In a new documentary, the underrated singer’s life of depression, addiction and poverty is told while her incredible talents are celebrated

The outlines of the life led by singer Karen Dalton tell a heartbreaking tale. It was one scarred by consistent poverty, intermittent homelessness, bouts of depression and escalating alcohol and drug addiction, culminating in her death from Aids at 55. Yet, to Robert Yapkowitz, who co-directed a new documentary with Richard Peete titled Karen Dalton: In My Own Time, “there’s an inspirational element to her story. Karen was an artist who didn’t compromise. She made music that she was proud of with the people she loved. And that was the focus of her life.”

Related: Beatles on the brink: the truth about the Fab Four’s final days

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Beatles on the brink: the truth about the Fab Four’s final days

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The director’s new documentary weaves together hours of unseen footage to dispel many myths about the band’s final months. John Harris, who was involved in the project, tells the inside story

On paper, the idea looked brilliant. In the opening weeks of January 1969, the Beatles were working up new songs for a televised concert, and being filmed as they did so. Where the event would take place was unclear – but as rehearsals at Twickenham film studios went on, one of their associates came up with the idea of travelling to Libya, where they would perform in the remains of a famous amphitheatre, part of an ancient Roman city called Sabratha. As the plan was discussed amid set designs and maps one Wednesday afternoon, a new element was added: why not invite a few hundred fans to join them on a specially chartered ocean liner?

Over the previous few days, John Lennon had been quiet and withdrawn, but now he seemed to be brimming with enthusiasm. The ship, he said, could be the setting for final dress rehearsals. He envisaged the group timing their set so they fell into a carefully picked musical moment just as the sun came up over the Mediterranean. If the four of them had been wondering how to present their performance, here was the most gloriously simple of answers: “God’s the gimmick,” he enthused.

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