Documentary Film

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Vivian Vázquez Irizarry and Gretchen Hildebran’s Decade of Fire by Roya Marsh
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Decade of Fire is a remarkable tale of the Bronx’s rise from ash, standing to set the record straight about the fires that ravaged the borough in the late ’60s and ’70s.

Vivian Vázquez Irizarry and Gretchen Hildebran’s Decade of Fire by Roya Marsh
Robert-Foster-Clearing-Rubble-BOMB-Magazine

Decade of Fire is a remarkable tale of the Bronx’s rise from ash, standing to set the record straight about the fires that ravaged the borough in the late ’60s and ’70s.

A Surreptitious Form of Activism: Michelle Handelman Interviewed by Jane Ursula Harris
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The filmmaker on her 1995 film BloodSisters documenting San Francisco’s leather-dyke scene.

Disorderly Glory: Joyce García’s Yo No Soy Guapo by Max Pearl
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Mexico City’s sonidero scene finally gets the documentary it deserves.

Tania Cypriano by Amy Jenkins
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Cypriano’s documentary Born to Be follows the profound journeys of several patients and doctors at the Mount Sinai Center for Transgender Medicine and Surgery.

To Be With Time: Varda by Agnès Reviewed by Amy Chabassier
Agnès Varda Courtesy Of Ciné Tamaris

A final, reflexive work from the godmother of the French New Wave.

Living Matter by Claire Atherton
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I never made a decision to become a film editor—or, in any case, I didn’t decide upon it at a young age and follow a single career path.

Nanfu Wang by Hao Wu
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The two Chinese-born filmmakers reflect on Wang’s new documentary One Child Nation and her unique approach to blending the personal and political.

Ritu Sarin & Tenzing Sonam’s The Sweet Requiem by Sabine Russ
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A film about departures, the kind without return.

Kazuo Hara by Ken Jacobs
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The pioneering filmmakers discuss morality and dissent in Hara’s highly subjective documentaries: “It takes a toll to discover what binds your heart to the subject.”

Native Sand: Yeo Siew Hua Interviewed by Sihan Tan
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The Singaporean filmmaker on migrant labor; visitations; and his recent work, A Land Imagined.

Life Before Death: John Bruce and Pawel Wojtasik Interviewed by Nicholas Elliott
End Of Life Sarah Grossman

The filmmakers take an unexpected approach to documenting people in the final stage of life.

A Sense of Place: William Ferris Interviewed by Michael Blair
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The artist and documentarian on capturing the vernacular South. 

El Cine Quema: The Films of Raymundo Gleyzer by Will Noah
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The insurgent Argentine documentarian’s retrospective screens at Anthology Film Archives from February 22 through 28.

Looking Back: BOMB Contributors on Film in 2018
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Featuring selections by Sasha Bonét, Lisa Borst, Nicholas Elliott, Mark Harwood, and more.

In a Dark Time the Eye Begins to See: Michelle Memran Interviewed by Alix Lambert
2  Maria Irene Fornes And Filmmaker Michelle Memran In Havana Cuba 2004 Photo By Alison Forbes

The director of The Rest I Make Up reflects on the life and companionship of María Irene Fornés.

The Treatment Sounded So Cinematic: Lana Wilson Interviewed by Penny Lane
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The two filmmakers probe the ethics and surprise of documentary.

Resisting Exploitation: Sky Hopinka Interviewed by Osman Can Yerebakan
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Films that combine documentary and poetics.

The Films of Emile de Antonio by Michael Blair
Point of Order

Huddled in front of a suite of bulletin boards filled with military charts, folding his fingers over papers as if they were slices of pizza, licking his lips, jowls quivering—this is Senator Joseph McCarthy as he appeared live on ABC in 1954 as part of the 36-day, 188-hour televised extravaganza that would come to be known as the Army-McCarthy Hearings. He’s berating a colonel, insinuating that “phony charts” have been submitted to the floor of the Senate. “The television audience,” he yells, “they are the jury in this case.”

The Otolith Group’s O Horizon by Rahel Aima
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In the molten golden hour, a row of Santhal tribeswomen dance in an open field. Arms interlocked, they bounce as one centipedal body to the beat of a dhol, cymbals, and a purring bamboo flute. The musicians wear flowers in their turbans, while the dancers don expressionless metallic masks that impart an otherworldly timbre to the pastoral scene.

Stephen Maing’s Crime + Punishment by Stephanie E. Goodalle
Crime And Punishment Credit Stephen Maing Final

In the aftermath of Eric Garner’s murder, a Black protester shouts at a group of cops, “Black officers, Puerto Rican officers, nobody likes you! Nobody. You are hated. You’re hated in New York and throughout the United States. This isn’t ignorance. This is anger, officer!” This scene from Stephen Maing’s character-driven documentary Crime + Punishment is another testimony to the rampant racial inequity in the United States.

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