‘Stop patronising me and give me an interview’: the female journalists speaking up for India’s poor

India’s only all-women news organisation is the subject of an award-winning documentary. The film-makers explain their inspiring courage and energy

A woman explains how a group of four men repeatedly broke into her house and raped her; six times so far. Did she go to the police? Yes, but officers refused to investigate. Instead, they threatened her and her husband. “These men can do anything. They can even kill us,” the victim says to the reporter, Meera, who is filming on her smartphone. As Meera leaves, the woman’s husband tells her that she is their only hope. “We don’t trust anyone except Khabar Lahariya.”

Khabar Lahariya is India’s only all-female news organisation. Based in Uttar Pradesh, its journalists passionately believe in reporting rural issues through a feminist lens.

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‘We have a hostility to being boring’: Sparks, still flying in their 70s

Their Adam Driver musical sent Cannes into raptures and Edgar Wright has made an all-star documentary about them. The Mael brothers explain why they’ll always be hopelessly in love with pop

In 1974, John Lennon was startled as he was watching Top of the Pops. He rang Ringo Starr. “You won’t believe what’s on television,” he reportedly said. “Marc Bolan is playing a song with Adolf Hitler.”

This was Sparks, performing their glorious pop opus This Town Ain’t Big Enough for Both of Us. “It was equidistant between the Beatles on Ed Sullivan and the Daleks on Doctor Who,” says Edgar Wright, the director of Baby Driver and Shaun of the Dead, and now a documentary about the duo, The Sparks Brothers. “Fifteen million people saw it. Think of the next generation of bands watching: the Sex Pistols, Siouxsie and the Banshees, Duran Duran, Joy Division, Squeeze, Vince Clarke. They’re all watching and they’re all thinking the same thing.”

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Stevie, Gladys, Nina … Summer of Soul uncovers a festival greater than Woodstock

As the US boiled with violence, 1969’s Harlem cultural festival nourished spirits with soul, jazz and gospel. Now, Questlove has turned lost footage of it into a brilliant, pertinent documentary

It’s 29 June 1969, and at Harlem’s Mount Morris park (now Marcus Garvey park), the 5th Dimension are about to take the stage. The Los Angeles group are already stars, thanks to hits including Up, Up and Away and Aquarius, from the musical Hair, which topped the Billboard charts that spring. But their pop-oriented repertoire, often penned by white songwriters, has kept them off the US’s R&B radio stations and thus from Black audiences. “We’d tried to separate ourselves from the segregation in our society, but we still got caught up in all that,” remembers the group’s founding singer, Billy Davis Jr, today. “And the average Black family didn’t earn enough to come see us at the nightclubs we were playing. They’d seen us on TV, but they’d never seen us live.”

That was about to change with their headline performance on the opening day of the Harlem cultural festival. A series of six Sunday concerts that summer, the festival showcased the cream of the era’s soul, gospel, blues and jazz artists before an audience of 300,000, many from the surrounding neighbourhoods. “I looked out and saw a sea of faces, and their response was so loving, so welcoming and exciting,” says Davis Jr’s wife and bandmate, Marilyn McCoo, for whom the festival remains a treasured memory. She’s not alone. Harlemite Musa Jackson, then just a five-year-old, still remembers how the 5th Dimension’s orange costumes, gleaming in the sun, made them look “like Creamsicles”.

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The Earth Is Blue As an Orange review – subtle doc tells Ukrainian family’s war story

Iryna Tsilyk sensitively captures a family caught up in the conflict with Russia who are trying to make a film of their own

This sensitive and astute Sundance-winning documentary, in which Kyiv-based director and poet Iryna Tsilyk haunts the back alleys of the Russo-Ukrainian war, is the antidote to the warped propaganda-fest the conflict was depicted as in the 2018 film Donbass. It layers fact and fiction as delicately as an onion as it focuses on the Trofymchuk-Gladky family, who are attempting to shoot piecemeal their own fictional work, called 2014, based on their wartime experiences. But, here, artifice and cinema work entirely in the service of good. They are a source of self-expression and spiritual nourishment for Ukrainians beaten down by close to a decade of fighting.

Tsilyk mentored budding film-maker Myroslava Trofymchuk at a workshop, and it is the teenager we see here calling the shots for her family as they act in scenes hunkering down in their cellar; echoes of the shock and trauma they are simultaneously living for real, inspecting bomb damage by smartphone light. The whole household – including single mother Anna and her other three children – is clearly deeply invested in the project, squabbling over shot choices at dinner. After jubilantly celebrating her daughter being accepted for a film scholarship in Kyiv, Anna packs her off, still in hyper-protective mode: “The only thing, I beg you, if you are being bullied, please call me.”

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Last Man Standing review – Biggie and Tupac murder case reinvestigated

Nick Broomfield returns to the deaths of the two titans of 90s gangsta rap, and the disturbing influence of record label boss Suge Knight

Nearly 20 years ago, Nick Broomfield released his sensational documentary Biggie and Tupac, in which he uncovered hidden facts about the violent deaths of US rappers Tupac Shakur and Christopher “Biggie” Wallace, and found that intimate witnesses to this murderous bicoastal feud were willing to open up to a diffident, soft-spoken Englishman in ways they never would to an American interviewer. Since then, there have been two very unedifying movies about Tupac: the sugary docu-hagiography Tupac: Resurrection (2003), produced by the late rapper’s mother, and the similarly reverential drama All Eyez on Me (2017).

Now Broomfield returns to the same subject, updating his bleak picture of the 90s rap scene, a world in which energy, creativity and radical anger were swamped with macho misogyny, drug-fuelled gangbanger paranoia and a poisonous obsession with respect. Marion “Suge” Knight, head of Death Row Records in Los Angeles, cultivated a violent gang-cult image by associating with the Bloods, and encouraged his acts and proteges to do the same, including Tupac – and Biggie’s perceived oppositional identity condemned him. But even more disturbingly, the LAPD allowed its officers to moonlight at Knight’s firm as “security” (a term that euphemistically covers all manner of paramilitary violence and intimidation).

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WITCH: We Intend to Cause Havoc review – the history of Zamrock, Africa’s great forgotten rockers

Film-maker Gio Arlotta and two young musicians are on a quest to track down the legendary leader of a 1970s Zambian band

Who knew 1970s Zambia had its own thriving musical genre? This modest documentary revisits the brief, almost-forgotten history of “Zamrock” – or at least what remains of it, which appears to be very little beyond the back catalogue of its leading band, Witch. Witch’s rhythmic blend of British blues, funk, psychedelic and garage rock has aged very well, and reissues of their albums in the 2010s found a new audience, including Italian film-maker Gio Arlotta, who consequently undertook an expedition to Zambia to try to find the band, accompanied by two young Dutch musicians, Jacco Gardner and Nic Mauskovic.

There’s now a well-trodden route for such musical travelogues, laid down by the likes of Buena Vista Social Club and Searching for Sugar Man, and while this lacks the polish or drama of either of those, it’s an engaging and uplifting journey. One of the problems it runs into is a lack of surviving footage of Witch in action. Arlotta and co scour Zambia’s pre-digital archives, but the best they come up with is some unseen footage of James Brown. Nor does it help that most of Witch’s original lineup are dead.

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The Viewing Booth review – seeing is believing in the Israel-Palestine conflict

Volunteers respond to politically polarised film footage from Israel and the Palestinian territories in this critical look at interpretation

Even though he tries to maintain a cool, scientific demeanour, Israeli director Ra’anan Alexandrowicz finally lets slip a twinge of despair at the end of this interesting geopolitical Rorschach test. Alexandrowicz sits studiously behind a monitor as he invites a succession of volunteers to enter an adjacent booth. There, they have a choice of 40 clips to watch, snippets of life in Israel, while he asks them to share their thoughts on what they see. Half of the clips are from rightwing Israeli sources; the other half are from B’Tselem, an Israeli human-rights organisation that aims to document abuses of power in Palestinian territories.

Alexandrowicz quickly zeroes in on the pensive Maia, a Jewish American who supports Israel, but brings an insistent scepticism to everything she watches. He is the director of pro-Palestine documentaries such as The Inner Tour (2001) and The Law in These Parts (2011) – and believes her to be his ideal audience: a possible convert.

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How did a £120 painting become a £320m Leonardo … then vanish?

A film about the disputed Salvator Mundi blames the National Gallery for its role in giving credibility to the claim that it was the artist’s lost work

The National Gallery is facing controversy over its role in the tangled story of how the world’s most expensive painting emerged from obscurity before being sold for a staggering £320m, only to vanish again from the public eye.

The gallery exhibited the Salvator Mundi in its Leonardo da Vinci exhibition a decade ago when it was an unknown work with doubts about its attribution, restoration and ownership.

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Finding fangs: new film exposes illicit trade killing off Bolivia’s iconic jaguar

Undercover documentary investigates the trafficking of Latin America’s big cat to meet demand in China

Elizabeth Unger was a 25-year-old biology graduate working as a PhD research assistant for big cat and climate projects in Latin America when she heard about the Bolivian authorities intercepting dozens of packages containing jaguar fangs sent by Chinese citizens to addresses in China.

“I was really blown away as [the story] was completely under the radar,” she says. Six years later, she is making her directorial debut with a film about the trade, which is contributing to a decline in the population of Latin America’s iconic big cat.

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Hong Kong film censors get wider ‘national security’ powers

Observers worry rule change in Chinese city will restrict pro-democracy movement even further

Hong Kong’s censors have been given expanded powers to vet films for national security breaches in the latest blow to the Chinese city’s political and artistic freedoms.

In a statement on Friday, authorities said the film censorship ordinance had been expanded to include “any act or activity which may amount to an offence endangering national security”.

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Manfred Kirchheimer, the greatest documentary maker you’ve probably never heard of

The 90-year-old German American director, who completed a trio of documentaries during lockdown, reflects on his career, his black activism and asking his father difficult questions about Nazi occupation

Manfred Kirchheimer, the US’s least-known great documentarian, may be 90 years old, but his memory is as sharp as a knife. “I wasn’t always a film aficionado,” he recalls. “Then, in 1949, I was at Manhattan’s City College and the students were on strike against two professors – one antisemite, the other anti-black. I saw someone filming a police horse and I asked him why. He said: ‘I’m making this for the film department.’ I had signed up for chemistry, but I didn’t like chemistry. So I went to the office of its head – the film-maker Hans Richter – and I said, ‘Professor, are there any opportunities in film?’ He said, ‘Yes – opportunities are plenty. But no jobs!’ I went anyway.” He chuckles fondly.

Kirchheimer was born in 1931 in Saarbrücken, Germany. His Jewish parents, sensing which way the winds were blowing, moved to the US five years later, eventually landing in New York’s Washington Heights, where they joined a close-knit and prosperous community peopled by so many exiles it was sometimes known as Frankfurt-on-the Hudson. Kirchheimer might have stopped practising the faith in his early 20s, but across the decades, his films all benefit – rely, even – on his migrant eye. They’re endlessly curious about how his adopted city works, searching for its often-overlooked architectural or environmental details, alive to its marginal voices.

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The Beatles in India: ‘With their long hair and jokes, they blew our minds!’

Two new documentaries offer intriguing insights on how the Beatles’ 1967 escape to study transcendental meditation shaped the band and India, baffled the KGB – and saw Ringo survive on a diet of baked beans

In 1968, Paul Saltzman was a lost soul. The son of a Canadian TV weatherman, he was working as a sound engineer for the National Film Board of Canada in India when he received a “Dear John” letter from the woman he thought was going to be his wife. “I was devastated,” he says. “Then someone on the crew said: ‘Have you tried meditation for the heartbreak?’”

Saltzman went to see the Maharishi Mahesh Yogi – the founder of transcendental meditation – speak at New Delhi University. Emboldened by promises of “inner rejuvenation”, Saltzman then travelled to the International Academy of Meditation in Rishikesh. It was closed, due to the arrival of the Beatles.

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‘They had soul’: Anton Corbijn on 40 years shooting Depeche Mode

He thought they were pop lightweights – then turned them into moody megastars. The photographer recalls his adventures with the band, from desert trips to drug-induced near-death experiences

By his own cheerful admission, Anton Corbijn’s relationship with Depeche Mode did not get off to a flying start. It was 1981 and Corbijn was the NME’s new star photographer, having previously been lured to the UK from his native Netherlands by the sound of British post-punk, particularly Joy Division. His black and white portraits became iconic images of that band’s brief career, and Corbijn had gone on to take equally celebrated shots of everyone from Captain Beefheart to David Bowie.

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I Am Samuel: the film aiming to ‘change the narrative’ on being gay in Kenya

The young star of Peter Murimi’s intimate documentary is as poor, religious and conservative as his peers – and fearful of a violent backlash, he says

Samuel Asilikwa grew up in rural Kenya. There was a strict template for masculinity, informed by centuries of tradition – and intolerance. In a new documentary about his life, we see his father, a pastor, question Asilikwa about why he is yet to find a wife. We then watch as he relocates to Nairobi in search of work and adventure. He finds community, friendship and intense romance with a man called Alex.

Peter Murimi’s film I Am Samuel, shot verité-style over the course of five years, is at its most powerful contrasting city and countryside. Kenya’s farmland, clay roads, shrubbery and corn fields are evidence of a still, yet cyclical, pattern of life compared with the infinite noise and claustrophobia of Nairobi. But it is also a film about a shifting political landscape, where “carnal knowledge against the order of nature” is punishable by 14 years’ imprisonment.

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‘You care for birds, and they heal you’: film profiles world of a Black falconer

A new documentary, The Falconer, follows Rodney Stotts, who found fulfillment in working with raptors and inner-city kids

Falconry is a profession with roots in the ancient Middle East and medieval Europe but one of its practitioners is making some history of his own.

Related: I'm a falconer - and there's nothing like watching a bird you trained in action

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‘It’s impossible to take your eyes off this infinitely dear face’: the startling film about Stalin’s funeral

Crafted from footage locked for years in an archive, Sergei Loznitsa’s State Funeral focuses on the motivations of the mourners who lived under the brutal regime

“At 21.50, due to cardiovascular and respiratory failure, Joseph Vissarionovich Stalin died,” intones an announcer. A woman takes off her hat, on the verge of tears. A handsome youth in a military uniform stares stoically at his feet. One middle-aged man glances self-consciously at the camera, as if to check it is still watching him, before looking down again. Again and again, our focus is drawn to faces in the crowds all across the Soviet Union. Not all are reverent. Some people shuffle, chat, chew, smoke, even half-smile.

The broadcasters’ praise for Stalin becomes ever more ludicrous: “We knew he was the best on our planet … It’s impossible to take your eyes off this infinitely dear face. Your eyes are full of tears, you hold your breath, you are overwhelmed with sorrow shared by millions, hundreds of millions of people.”

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Guardian film Colette wins Oscar for best documentary short

Film about a former resistance fighter travelling to visit the concentration camp where her brother died wins prize at the 93rd Academy Awards

Watch the Guardian’s Oscar winning film, Colette

Colette, a film released by the Guardian, has won the Oscar for best documentary short at the 93rd Academy Awards in Los Angeles.

Written and directed by Anthony Giacchino, and produced by Alice Doyard, Annie Small and Aaron Matthews, Colette tells the story of 90-year-old former French resistance member Colette Marin-Catherine, who visits the concentration camp where her brother was murdered during the war with a young history student, Lucie Fouble.

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Cielo review – love letter to the desert’s starry skies

Alison McAlpine’s documentary draws out tales from locals and astronomers to evoke the magic and mystery of Chile’s stargazing hotspot

Cielo means “sky” in Spanish, and “heaven”, too. And it’s with a sense of humbled wonder at the immense mystery of it all that the Canadian film-maker Alison McAlpine casts her camera upwards in this beautiful documentary about the night sky. It’s filmed at the stargazing hotspot of Chile’s Atacama desert, where there is virtually no light pollution; the heavens appear to be within touching distance – as if a seam in the sky has been unpicked and the stars tumble out like diamonds.

For those of us who live in urban areas, we look up from noisy streets and bright city lights to the vast emptiness of the sky. In Atacama, it’s the reverse; the sky seems more alive than the earth – a bare, Martian landscape of rock and sand. With her cinematographer, Benjamín Echazarreta, McAlpine shoots some astonishing time-lapse photography, which features alongside interviews with astronomers at the European observatories in the desert and locals who eke out a living somehow. One man is a UFO photographer; he thinks that humans are more evil than the aliens and, knowing this, the aliens don’t bother to land.

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‘He’s telling a story of his time’: how Bill Traylor, born into slavery, became an art titan

Referred to as ‘the greatest artist you’ve never heard of’, Bill Traylor’s compelling life is put under the spotlight in a new documentary

Bill Traylor had already lived a full life before he was born as an artist. Enslaved at birth on an Alabama cotton plantation in 1853 and having spent his entire life as a farmer within a 40-mile radius of Montgomery, it was only in his late 80s that he, homeless and alone, parked himself by a bustling intersection in the state capitol’s segregated black neighborhood and began to draw and paint.

Related: In the Absence of Light: celebrating the history of black artists in America

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Louis Theroux: ‘I worry about not coming up to scratch’

He made a film on Joe Exotic a decade before Tiger King, lulls interviewees into personal revelations – and can rock a leather suit. So why is he so anxious?

“There’s no getting away from the fact that, even aged 50, I’m a slightly awkward person, a fearful person, worry-prone,” says Louis Theroux, wriggling in his seat. The film-maker picks up and puts down a coffee without drinking. He wears all blue: navy sweater, stock denim, one of those indestructible plastic Casio watches on his wrist. “I worry about what people think,” Theroux continues, “I worry about giving offence, being judged, not coming up to scratch, being thin-skinned.”

We are in the corner of a photography studio in London, sheltering from rain on a Friday afternoon. The room has long emptied of people, but, even so, as Theroux chats, he snatches quick glances over his right shoulder, as if expecting to find somebody or something lurking there. “Everyone has things that preoccupy them, right?” he says. “I just tend to think, on a spectrum of people in general, I definitely skew, uh, anxious.”

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