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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‘What appointments did these dogs have to keep?’: long lunches and brief liaisons in a radical new dogumentary

To mark National Puppy Day, Elizabeth Lo’s acclaimed film Stray gives humans rare insight into the canine gaze, courtesy of homeless mutts in Istanbul

From the moment Zeytin makes her first appearance in Elizabeth Lo’s feature Stray, there is no doubt you are in the presence of a unique spirit. As she surveys an Istanbul side street at dawn, her features are alert, her gaze is uncompromising and her deep, dark eyes sparkle with intelligence. There’s something of Katharine Hepburn in The African Queen about her, or maybe Brad Pitt in one of his less kempt moments. But non-dog comparisons don’t do her justice. This is one indomitable bitch.

Lo first encountered Zeytin and her friend Nazar on a 2017 casting trip to Turkey, and knew immediately that she had found the star she was looking for – which is to say, a dog who could carry a human film. “We were wandering through a busy underground tunnel filled with people when suddenly these two giant stray dogs streaked past us,” she says. “They were running with such a sense of purpose and it was so intriguing. What appointments did these dogs have to keep?”

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‘I have picked people up on the street’: the secret life of architect Alvar Aalto

He built wild, magical buildings and furniture that is still thrilling today. But a new film suggests the celebrated Finn was also a domineering philanderer deeply indebted to his talented wives

Wonky lumps of misshapen, scorched bricks burst from a block of student flats in Cambridge, Massachusetts, giving a warty look to the long wall that winds its way along the Charles River. “The lousiest bricks in the world,” is how Finnish architect Alvar Aalto described the local New England materials he used for his Baker House dorms at the Massachusetts Institute of Technology in 1947. It was meant as a compliment – he loved their twisted, blackened, brutish texture, which gave the walls the look of coarse tweed.

The pockmarked wall is one of many such strange and beautiful things covered in a new feature-length documentary film about Aalto, Finland’s most famous designer export and one of the most celebrated architects of the 20th century, who built a career on his obsessive attention to material details. Always thinking about the human experience of moving through a building, he considered everything from the feel of a leather-wrapped door handle to the pleasure of a misshapen brick.

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While We Are Here review – enigmatic study of romance is hard to love

There is an avant-garde bravery to this international love story – but how can we invest in protagonists we never see?

Here is a thought-experiment of a movie from Brazilian film-makers Clarissa Campolina and Luiz Pretti: it’s a dramatic essay, or docu-fictional romance, or perhaps the cinematic equivalent of an epistolary novel, and it has been much admired on the festival circuit.

Related: Streaming: indie films from Latin America

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‘We knew so little’: the young film-makers who captured early quarantine life

HBO’s Covid Diaries NYC stitches together five documentary shorts by film-makers between 16-22, covering the dizzying, surreal first days of the pandemic

The middle of March 2021 will bring, for most Americans, a strange, surreal anniversary: the year mark of the horrifying realization – be it through a tweet, a cancellation, a diagnosis of a loved one or a celebrity, a lost job or gig – that the coronavirus was a very real threat that would implode the world as we knew it. For Aracelie Colón, then a 16-year-old high school junior in Manhattan, it was the email announcing a two-week closure from school. For fellow high school junior Shane Fleming, it was the positive diagnosis of a classmate and the closure of the Film Forum, where the movie buff caught a final feature showing on 14 March. For Arlet Guallpa, then 22, it was an ambulance outside her building in Washington Heights, fetching the first of many residents who would succumb to the virus.

Related: 'They refused to act': inside a chilling documentary on Trump's bungled Covid-19 response

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Sir Alex Ferguson: ‘I feared I would never speak again’

Former Manchester United manager tells of brain surgery worries ahead of documentary about his life

Sir Alex Ferguson has said he feared he would never be able to speak again after suffering a brain haemorrhage in 2018. The former Manchester United manager told a Q&A at Glasgow film festival he was worried that he could lose his voice and memory after undergoing emergency surgery.

A new documentary about the two-time Champions League-winning manager premiered at the the film festival on Saturday.

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Notturno review – lives scarred by Isis and the west in haunting cine-poem

Gianfranco Rosi’s documentary depicts a Middle East emerging from trauma, but it is self-conscious at times

Documentary film-maker Gianfranco Rosi has created a very characteristic cine-poem of sadness, about the Middle East as it emerges from Isis terror, but remaining scarred by the intervention of western powers who had promised so much. It’s an intensely considered curation of scenes: glimpses, perhaps, into a collective mind or soul. Rosi has assembled this from years of filming in Syria, Lebanon, Iraq and the Kurdistan region of northern Iraq. It’s similar in its observational procedures to films such as Sacro GRA, his 2013 study of those who live on the periphery of Rome, near the “GRA” ring road, and also his masterly Fire at Sea from 2016, about the lives of desperate migrants who arrive in Lampedusa, Sicily, and the locals who are coming to terms with them.

The title means “night” or “of the night”, and many scenes seem to be happening at nightfall (or possibly at daybreak), particularly the opening, extended sequence of soldiers drilling, jogging around in a circle. There are many striking moments and beautifully realised images and vignettes here, a rhetorical structure that is perhaps inspired by the play that, in one scene, psychiatric patients are shown rehearsing about the lives of people in Iraq. But I worried a little that Rosi’s techniques are becoming a self-conscious mannerism, and furthermore that the film is a little too diffuse, taking in four different places and effectively homogenising them.

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Allen v Farrow is pure PR. Why else would it omit so much?

The new HBO documentary in which Mia and Dylan Farrow revisit their 1992 allegation against Woody Allen claims to be an even-handed investigation. But its failure to present the facts makes it feel more like activism

“HBO Doc About Woody Allen & Mia Farrow Ignores Mia’s 3 Dead Kids, Her Child Molester Brother, Other Family Tragedies” was the headline on one US showbiz site, above its review of the four-part documentary, Allen v Farrow, about the continuing battle between Woody Allen and Mia Farrow, now entering its fourth decade. But this review was very much an outlier. In the vast main, reaction to the strongly anti-Allen series has been overwhelmingly positive, with Buzzfeed describing it as a “nuanced reckoning” and Entertainment Weekly comparing it to the recent documentaries about Michael Jackson and Jeffrey Epstein. This reaction is more of a reflection of the public’s feelings towards Allen – particularly in the US – than of the documentary, which sets itself up as an investigation but much more resembles PR, as biased and partial as a political candidate’s advert vilifying an opponent in election season.

Related: Allen v Farrow review – effective docuseries on allegations of abuse

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Eye of the Storm review – moving film about Scottish painter in love with nature

James Morrison’s work was full of awe for the natural world, and this documentary does his landscape painting full justice

Scottish painter James Morrison died shortly before the completion of this affectionate documentary about his life and work, and it’s a fitting tribute to an articulate and self-effacing artist with an extraordinary affinity for Scotland’s everchanging land- and seascapes. It’s directed by Anthony Baxter, best known for highlighting the stubborn local resistance resistance to Donald Trump’s golf course in Aberdeenshire with his You’ve Been Trumped films; this is something of a change of pace, while offering a not-dissimilar celebration of a very Scottish style of quiet, unfussy determination.

Morrison’s story is interesting enough – born and raised in Glasgow, the son of ship’s fitter, who settled on the east coast and made epic trips to paint abroad, most notably to the Arctic – but it’s added to here by a plangent late-life twist: he is losing his sight, to the extent he can barely see what he is painting. True to form, Morrison accepted this as uncomplainingly as anything else – “irritating” is the strongest imprecation I can recall – and there’s something inexpressibly moving about the way he strokes a blank sheet of paper taped to his easel as if he can’t wait to get started.

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My Brother’s Keeper: a former Guantánamo detainee, his guard and their unlikely friendship – video

Mohamedou Ould Salahi and one of his former guards, Steve Wood, reunite in Mauritania 13 years after last seeing each other, rekindling an unlikely relationship that profoundly changed their lives.

Mohamedou was a prisoner at Guantánamo Bay for 14 years. During his incarceration he was subjected to torture and solitary confinement, but never charged with a crime. His memoir, Guantánamo Diary, became an international bestseller and was adapted into the film, The Mauritanian, starring Tahar Rahim and Jodie Foster.

My Brother's Keeper is BAFTA longlisted for British Short Film 2021.

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Ayouni review – a raging lament for Syria’s ‘disappeared’

Yasmin Fedda’s powerful documentary lays bare the human cost of the Assad regime and salutes those who continue to fight

Director Yasmin Fedda, who is from a Kuwaiti and Syrian background and lectures in film at Queen Mary University of London, has created a powerful and urgent documentary tribute to those who have been “forcibly disappeared” by the Assad regime in Syria, estimated to be around 150,000 since 2011.

Fedda focuses on two people: dissident writer and computer programmer Bassel Khartabil, who was abducted in October 2015 in Damascus, and Father Paolo Dall’Oglio, the hugely popular and admired Christian priest who was taken in July 2013 in Raqqa. She uses existing video of these two, from various family members and organisations, along with her own footage showing the campaigns of the loved ones left behind with their burden of anguish and their need to battle on and bring these crimes to the world’s attention.

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