Documentary Insider

IDA Award Winners 2005

November 17th, 2005

International Documentary Association Names Top Docs of 2005
FAVELA RISING and OUR BRAND IS CRISIS Share Honors in Features Category

    LOS ANGELES, November 16, 2005 – The International Documentary Association (IDA) announced today that FAVELA RISING, OUR BRAND IS CRISIS, THE CHILDREN OF LENINGRADSKY, CNN PRESENTS, and THE STAIRCASE have earned Distinguished Documentary Achievement Awards. Presentations will be made during the 21st Annual IDA Awards Gala Benefit here on December 9 at the Directors Guild of America (DGA) Theatre.

    “These documentaries were chosen by a jury of peers out of hundreds of films that were submitted from around the world,” says IDA Executive Director Sandra Ruch. “Each of them tells an important story that makes an unforgettable impression. It is encouraging to see the diversity of high-quality documentaries made by so many talented filmmakers around the world.”

    FAVELA RISING and OUR BRAND IS CRISIS shared top honors in the Feature competition. THE CHILDREN OF LENINGRADSKY won for the Short category (films under 40-minutes). THE STAIRCASE won the Limited Series competition for segments of a series with a specific continuing theme or subject. CNN PRESENTS won the Continuing Series competition for documentaries that are part of an ongoing series.

    FAVELA RISING follows Anderson Sá, a former drug-trafficker turned social revolutionary in Rio de Janeiro’s most feared slum. Through hip-hop music, the rhythms of the street, and Afro-Brazilian dance he rallies his community to counteract the violent oppression enforced by teenage drug armies and sustained by corrupt police. Matt Mochary and Jeff Zimbalist directed the film.

    In OUR BRAND IS CRISIS, director-producer Rachel Boynton examines what happens when America’s brand of political message-making is transported overseas. Bolivia’s former president, Gonzalo Sánchez de Lozada, also known as Goni, hired spin-doctors Greenberg-Carville-Shrum to help him win back the presidency he lost in 1997. With astounding access, the film unravels like a political thriller as the consultants and the candidate are confronted with disaster the first polls never predicted.

    CHILDREN OF LENINGRADSKY was nominated for an Oscar® earlier this year. The film is an intimate portrait of children living in Moscow train stations. They panhandle or prostitute themselves for money, yet many consider life on the streets a better alternative to what they experienced at home. It was co-directed and co-produced by Andrzej Celinsky and Hanna Polak.

    THE STAIRCASE was directed by Jean-Xavier de Lestrade and produced by Denis Poncet and Allyson Luchak. The program, which aired on Sundance Channel, followed the trial of author Michael Peterson who is accused of murdering his wife in their North Carolina home in December 2001. The team of de Lestrade and Poncet earned an Oscar® in 2002 for MURDER ON A SUNDAY MORNING.

    CNN PRESENTS showcases in-depth programming for a worldwide audience about the people, places and events defining their world. The series has included programs about gang violence terrorizing small communities across America, questionable standards in forensics labs, and the impact on survivors and those affected by suicide bombings. Sid Bedingfield is the executive producer and Judy Gottleib is the executive director.

    The 2005 Pare Lorentz Award will be presented to director David O’Shields and executive producer Daryl Smith for AMERICA’S LOST LANDSCAPE: THE TALLGRASS PRAIRIE. This award is presented by the Pare Lorentz Foundation to one or more individuals whose work best represents the democratic sensibility, activist spirit and lyrical vision of the legendary documentarian. The film depicts changes in the Midwestern landscape during the past 150 years and highlights prairie preservation efforts, including how a tallgrass prairie ecosystem may serve as a model for a sustainable agriculture of the future.

    RWANDA: DO SCARS EVER FADE? took top honors in the IDA/ABCNEWS VideoSource competition. The award recognizes documentarians who make the best use of historic news footage to tell a non-fiction story. Director Paul Freedman visited Rwanda 10 years after the 1994 genocide. The film, produced by Bill Brummel, includes interviews with participants and survivors, and explored the catastrophic effects of the genocide, and the progress made in rebuilding during the past decade.

    The IDA will present Marshall Curry with the Jacqueline Donnet Emerging Documentary Filmmaker Award, which goes to an individual who has made at least one documentary and shows great promise. Curry’s first feature-length documentary STREET FIGHT follows the 2002 mayoral campaign in Newark, New Jersey, when Cory Booker attempted to unseat longtime mayor Sharpe James.

    The IDA Awards Gala’s founding sponsor is Eastman Kodak Company. The company has sponsored the IDA Awards since their inception in 1984, and also hosts DocuFestâ„¢, where all of the award-winning films will be presented followed by discussions with the filmmakers. DocuFest will be held in the company’s screening room at 6700 Santa Monica Blvd., in Hollywood, on December 10 from 9:00 a.m.-midnight.

    Tickets for the 2005 Distinguished Documentary Achievement Awards are available at www.documentary.org or by calling 213-534-3600, ext. 0.
    Netflix is a major sponsor of the Gala.
    ABCNEWS VideoSource and Google are presenting sponsors.
    The event sponsor is Director Guild of America.
    Supporting sponsors are Chubb, French Embassy in Los Angeles, Daily Variety, The Hollywood Reporter, Stella Artois and Marriott’s Residence Inn.

    Click here to see the Winners and Nominees
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A shortlist rant worth reading…

November 16th, 2005

From Anthony Kaufman’s blog

    Oscar Docs Baffle Again: “Grizzly Man” Snubbed

    Can someone explain to me the biggest snub in the recent history of the Oscar documentary branch: that “Grizzly Man” — Werner Herzog’s masterful meditation on nature’s cruelty — did not make AMPAS’s shortlist for the Best Documentary category? Since “Grizzly Man” is the best documentary of the year, the omission is baffling. I can only expect to read that the film was deemed illegible on the grounds of some strange technicality. Of course, “March of the Penguins” — as a film critic noted to me today — the “feel-good” nature film of the year made the list — and will undoubtedly win.

    While I’m quite happy to see “Unknown White Male,” “The Devil and Daniel Johnston,” and “Darwin’s Nightmare” on the list, haunting documentaries that defy the popular boring cuteness of “Penguins” and “Mad Hot Ballroom,” the “Grizzly Man” loss is truly astounding. And why no “Why We Fight,” Eugene Jarecki’s excoriating investigation into America’s war machine? As with last year’s snubs of “Metallica: Some Kind of Monster” and “Control Room,” the AMPAS documentary committee continues to confound.

    As an executive told me last year at this time, “Whatever the restrictions, whatever the guidelines, it’s not a fair
    representation of the caliber of docs. Maybe DIEBOLD should work in conjunction with the Academy to come up with a better approach.”

Documentary Oscar Feature Shortlist

November 15th, 2005
    November 15, 2005
    FOR IMMEDIATE RELEASE
    CONTACT: Toni Thompson — (310) 247-3000

    Academy Announces Documentary Films in Competition for 78th Academy Awards®

    Beverly Hills, CA — The Academy of Motion Picture Arts and Sciences today announced the list of films that will continue on in the voting process in the category of Best Documentary Feature for the 78th Academy Awards. Eighty-two films had been eligible in the category.

    The 15 films from which the five nominees will be selected are listed below in alphabetical order:

    “After Innocence”

    “The Boys of Baraka”

    “Darwin’s Nightmare”

    “The Devil and Daniel Johnston”

    “Enron: The Smartest Guys in the Room”

    “Favela Rising”

    “Mad Hot Ballroom”

    “March of the Penguins”

    “Murderball”

    “Occupation: Dreamland”

    “On Native Soil: The Documentary of the 9/11 Commission Report”

    “Rize”

    “Street Fight”

    “39 Pounds of Love”

    “Unknown White Male”

    Eligible documentaries were screened by the Documentary Branch Screening Committee, made up of members of the branch who serve on a volunteer basis. The above films were chosen after a preliminary round of screenings.

    The nominated films will be announced along with nominations in 24 other categories on Tuesday, January 31, at 5:30 a.m. PST.

    Academy Awards for outstanding film achievements for 2005 will be presented on Sunday, March 5, 2006, at the Kodak Theatre at Hollywood & Highland®, and televised live by the ABC Television Network beginning at 5 p.m. PST.

    # # #

    ©A.M.P.A.S.®
    Academy of Motion Picture Arts and Sciences
    8949 Wilshire Boulevard Beverly Hills, CA 90211-1972
    (310) 247-3000 | www.oscars.org | publicity@oscars.org

3. Oscar’s Docs – an overview thus far…

November 15th, 2005

Before I started attending the Academy’s Oscar’s Docs series I thought I would have something to say every week. And…surprisingly…I haven’t. We are now closer to the end of the series than the beginning and I’m still leaving the screenings trying to think of something to write about besides the plain ole history.

The series started with 1941 the first year of the Oscar for documentary film. Docs had become en vogue due to the war and nearly every winning and nominated film from 1941 to 1948 was about the war from one country’s perspective or another. I don’t consider myself a history buff and maybe if I were I could find a better context to put these films.

1949 it started to get a little more interesting, not just like watching newsreels but an actual story. And now with 1951-1954 under my belt I am well versed in the nature documentary and the Walt Disney nature documentary to boot.

Thus far it has been an interesting ride and due to the fluid definition of documentary over the years the series has included esoteric animation (Neighbours, 1952), films that are 100% reenacted (Benjy, 1951) and unbelievable bias and politically incorrectness (Design for Death, 1947). There are 3 more weeks to cover 1955-1960 and then I’ll have seen the first twenty years of Academy Award winning documentaries. I have to “thank the Academy” for that.

Movie theater irritation #10

November 15th, 2005

People who mooooove into the theater. They take up two or three seats with all of their gear and then proceed to put their feet up over the seat in front of them – that’s 4 seats they’re using!

AFI Fest Documentary Award Winners…

November 14th, 2005

From indieWIRE:

    In the documentary competition, Zach Niles and Banker White won the Aquafina Pure Vision Award for their film “The Refugee All Stars.” The film is the story of a group of six Sierra Leonean musicians who come together to form a band while living as refugees in the Republic of Guinea. Kelly Duda’s “Factor 8: The Arkansas Prison Blood Scandal” received a special mention in the category. Jonathan Hock and Alistari Christopher’s “Through the Fire” received the Netflix Audience Award for best documentary, which includes a $5000 unrestricted cash prize.

AFI Fest Day 10 – the final stretch…

November 13th, 2005

Day 10 I attended the TIMESTALKS 2 – The War Documentary: A Panel Discussion with Eugene Jarecki, Stephen Marshall, Jehane Noujaim, Michael Tucker, Garrett Scott and moderated by New York Times Magazine editor Gerald Marzonati. Admittedly I walked in 30 minutes late, but it seemed to me the panel was really more about why these filmmakers make the films they do. And the number one word of the day was nuance. Everyone up on the panel was discussing nuance. In fact, I don’t think I’ve ever heard the word nuance used quite that much in such a short period of time in my life. Their reasoning is the difference between the media and documentaries, how the information is presented.

A few quotes from the panelists:

    “News can’t provide everything.”

    “Making the viewer learn how to figure stuff out from themselves.”

    “Trying to put on the screen what you wish people were talking about in your society.”

I left the panel a little early to jump into Through the Fire. Let me start by saying that I only know a couple things about basketball.

    1. Los Angeles has 2 basketball teams.
    2. You have to put the ball through the hoop to score.

Other than that I’m pretty clueless. Through the Fire follows Sebastian Telfair through his senior year of high school basketball. It doesn’t take long to figure out that this film is gonna be good. About 20 minutes in I looked at watch and noted in my notebook, “I’m invested.” That says a lot! For someone who couldn’t care less about basketball to want all the hopes and dreams of a Coney Island high school baskeball player to come true. Sebastian Telfair is charismatic, he loves his mom and for a 5 foot 10 inch player he kicks ass on the court.

I loved this movie. It has suspense, great music and editing, it shows passion and confidence, fleshed out real characters and as I sit here while the festival awards ceremony is taking place I predict it will win an award or two.

Emmy award winning filmmaker Jonathan Hock has done a tremendous job illustrating the exuberance of an athlete born to play basketball. I even found myself searching my TiVo today to see if I could find Telfair playing any games coming up. And…that speaks tomes for someone who has never watched a televised basketball in her life. The film will air on ESPN in March 12, 2006 and be available on DVD 2 days later.

I didn’t make it to the festival today, the final day. But I had a great run of it seeing 11 documentaries, 6 fiction films, one tribute to Johnny Depp and a New York Times panel discussion on war documentaries. Not bad.

Movie theater irritation #9

November 12th, 2005

People who get up 5 minutes into a movie after we’ve been sitting there 30 minutes for it to start. Where are the going? They always come back. Why didn’t they go while we were waiting? It’s a wonder…

AFI Fest Day 8 – moving into the 2nd weekend…

November 11th, 2005

Day 8 of the festival and I’m not terribly worse for wear. But…as I have been dozing off a bit (during movies) I could probably use just a little caffeine…maybe.

I’ve stopped reading the festival catalog and I’m just walking blindly into documentaries. So…I stumbled into Desire. The film follows a group of young girls living in New Orleans for 5 years as they deal with teen pregnancy, sexuality, high school, high expectations, graduation and dropping out. Julie Gustafson, the director/producer seemed pleased with the world premiere screening after 10 years of work on the project. Desire was supposed to have had its world premiere screening at the New Orleans Film Festival but Hurricane Katrina shut down the festival. All proceeds from the screenings of Desire during AFI Fest benefit the NOFF. The Executive Director spoke after the film and asked for donations. She and many other film fest staff are currently working for free trying to get the festival on track for 2006.

I was surprised to find a third film (out of 12) dealing with refugees in competition for the International Documentary Prize. There are always music docs, there are always films about artists, but 3 films about refugees seems a little improbable. But in a world where war is more abundant than the media cares to report, documentarians really have their hands full getting stories out there.

There are 3 million Sudanese refugees living in Egypt. Davin Anders Hutchins, an American journalist and the filmmaker, lived in Cairo for a year looking for stories. He found them in a refugee from Southern Sudan, a human rights activist from Northern Sudan and in himself. The Art of Flight dares to ask questions about the “American empire” and explores the middle east through new and unflinchingly open eyes.

Day 9 will be a doc free day – although I did manage to score a ticket to the Tribute to Johnny Depp.

On Saturday there’s a New York Times Talk: The War Documentary.

    The New York Times Magazine contributor moderates an expert panel focusing on the year’s important films and what they say about the way we live now. New York Times Magazine editor Gerald Marzorati talks with Director Eugene Jarecki (Why we fight), Stephen Marshall (Battleground), Jehane Noujaim (Control Room) Garrett Scott (Operation Dreamland) and Michael tucker (Gunner Palace).

See you there!

AFI Fest Day 7 – bad words and bad wars…

November 10th, 2005

There’s just something funny about people saying, “Have you seen FUCK?” “Last night I saw FUCK and I liked it!” “I really…uh…wanted to see…excuse my language…uhhh…FUCK yesterday…sorry again, but I couldn’t make it.” And really, that’s the point of the movie. What is so bad about a word? Who says it’s bad? What makes a bad word a bad word and what makes it so good for so many things! The film, FUCK or F**K as it said on the marquee at the Arclight, is entertaining, fun even. The film includes great animation sequences by Bill Plympton, interviews with Billy Connolly, Janeane Garofalo, Dennis Prager, Ms. Manners, Ron Jeremy and surprising images of present and past presidents flipping “the bird”, plus countless (I’m sure somebody counted) movie and TV clips and about 800 mentions of the work fuck. Okay so it’s a little salacious, but ultimately, that’s what makes it fun.

Refugee All Stars is the second refugee film of the festival and makes for an interesting contrast with Tuesday night’s Back to Bosnia. The Refugee All Stars band is made up of 6 Sierra Leonean musicians living as refugees in the West African nation of Guinea. Their homeland was riddled with a brutal civil war from 1991-2002 and they found themselves in refugee camps playing music to help heal themselves and their people from the tragedies they lived through. The film is emotional and mostly due to the music that fills it and their passion to write, play, perform and even record it. A party followed and 3 of the Refugee All Stars were there to perform their heartfelt tunes. You can buy their CD at their website and 100% of the proceeds go directly to the band.

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