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“It’s more like, ‘We have this idea with a space, a series of images, a story that we want to tell, a framing device, an underwriting ethos.’ We’re not constrained about how we’re going to do that.” “We came to realise that it’s not, ‘Hey, Bill, I have an idea for a documentary’,” Turner Ross told The Guardian. On the other hand, directors Bill and Turner Ross cast these people in similar bars they are acting themselves, while the drink, drugs, despair and rollicking camaraderie are real enough. Riveting Sundance Festival hit Bloody Noses, Empty Pockets probably isn’t even a documentary, in that the patrons of the dive bar where it is set are acting. Several documentaries shine beams into corners of American life you may wish you never knew were there. “What was terrifying to me while making this film,” says Kantayya, “was that artificial intelligence – algorithms not vetted for accuracy or bias – are already being deployed at a massive scale to make such important decisions about who gets hired, who gets health care, who gets into college or how long a prison sentence someone serves. Most of these algorithms, however, are determining processes we don’t see. This is film as living news.Ĭoded Bias explores the way algorithms reinforce prejudices. We may get some idea when we see sweet but determined Jocelyn Chau, a pro-democracy candidate for the district council, thrown to the ground as she hands out flyers meanwhile, the volunteer first-aiders, following the demonstrations on their phones so they can meet the students with eyes streaming from pepper spray, emerge as the heroes.
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“To me, Hong Kong is the most democratic place in the world,” says taxi driver Ray, who wonders why his son is so opposed to the police. “But I wanted it to be a true story, not based on a true story.” When one of the fugitives decides to go public and we see his surrogate face dissolve to reveal the real man, it is both a remarkable coup de theatre and a singular act of courage.Ĭhinese filmmaker Zhou Bing walks an even trickier line in Hong Kong Moments, taking a studiously even-handed approach to the Umbrella pro-democracy demonstrations by following seven locals with contrasting points of view. “When they laughed or blinked or cried, the new face did exactly that thing, so you really do feel the journey they’re on,” he says. France’s team developed a form of deep fake technology that would allow him to superimpose other faces onto his subjects. With so much at stake, he had to find a way to let his subjects tell their stories as forcefully as possible without putting them at even greater risk. Superimposed faces are used to disguise the gay subjects of Welcome to Chechnya.
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Magdalena (Mercedes Hernandez) never leaves her home country, but the spectre of Mexico’s rich neighbour and its hostile environment looms behind the terrorists and tricksters who exploit young boys the knowledge that this poignant film tells a common story gives it added weight. Her boy was last seen heading for the American border. The mother in Identifying Features, Mexican director Fernanda Valadez’ story of an illiterate village woman determined to find out what has happened to her teenage son, could conceivably be one of the crowd outside the general’s walls. Majestically shot and suffused with genuine horror, the film fulfils all the promise of Bustamante’s earlier Tremors. Weeping is heard in the walls of the general’s house at night the bathroom keeps flooding crowds outside sing protest songs meanwhile, a strange stillness holds the divided family in thrall. His Mayan servants walk out in their place comes Alma, a quiet young woman dressed in white with a penchant for swimming in the middle of the night.Įvery Hispanic American knows the legend of La Llorona, the indigenous woman who drowned her children and is condemned to find their souls before she can go to heaven.
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General Monteverde (Julio Diaz), a transparent stand-in for monstrous Guatemalan dictator Efrain Rios Montt, is convicted of committing genocide during the country’s 35-year civil war and awaits his sentence at home with his quietly mutinous family.
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La Llorona (The Weeping Woman) is similarly personal, but views political events from the oppressor’s perspective. Maria Telon and Maria Mercedes Coroy in La Llorona.