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documentary

<i>Honeyland</i>. Directed by Ljubomir Stefanov and Tamara Kotevska. Apolo Media/Trice Films, 2019. 85 minutes.

The Real Real

September 8, 2020

Are there still documentaries? A glance at this year’s Oscar nominees, a thriving festival circuit, and my own Netflix history makes the answer plain. And yet the question persists. It squats at the end of long days spent consuming “real” images and “true” stories, navigating the apps and feeds animated by user content, the video-driven news homepages, the platforms that upload hundreds of vlogs and tutorials each minute. It confronts those who spend the same long days being captured, consensually and otherwise, by the cameras surrounding us, embedded in the screens we use to watch other people eat, unbox, talk into their bathroom mirrors, and react to other people in other videos. A world in which reality is screened by definition would seem to pose a threat to a genre rooted in its claim on real life. What now distinguishes documentary from the air we breathe? 

<i>Risk</i>Directed by Laura Poitras Neon, 2017 86 minutes.

The Journalist and the Masturbator

Autumn stalled, the heat lingered, and an interim season began. In lieu of leaves, the sky rained with tales of sexual predation. More curiously, the world took notice: On the ground there occurred a clamor for stories of harassment and assault, which were gathered with an altogether new sense of industry, indignation, and consequence. A bonfire subsisted on the shredded reputations of high-profile men; communal nests of solace and of recourse were fashioned from the feathered remnants of their careers.


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Illustration by Corey Brickley

Location

The camp was deserted when they trekked into it. The tall canvas tents were zipped and the big table in the midst of the glade was clear but for a monkey that looked up when Simon approached. The monkey bared its teeth and screeched. Simon stepped back. One of the creature’s eyes, he noticed, was partly closed. A line of scar tissue ran from brow to cheek, over the corner of the eyelid. Rayyan picked up a branch and jabbed at the animal until it climbed off the tabletop and loped in the direction of the trees on toes and knuckles. “Bad monkeys in this park,” said Rayyan. He took a cloth from his pocket and wiped the table before he invited Simon to sit. It was a rough wooden table, made of felled saplings knotted together. They sat opposite each other in canvas chairs and resumed their conversation about Rayyan’s favorite topic: Manchester United. “Antonio Valencia,” Rayyan said. He exhaled and shook his head slowly and sadly. “Always they put him in the wrong position.”

Peeking in on the Magic

December 14, 2011

I have been fortunate to peek in on the tireless creation of “Half-Lives: The Chernobyl Workers Now,” a short film by Maisie Crow with production assistance from frequent VQR contributor Jesse Dukes. Their poignant video complements a superb work of narrative journalism, “The Resurrection” by Maria P. Vassileva with Crow's photographs, in our Fall 2011 print issue.