“The art of independent filmmaking is thriving”: tnyfrontrow reviews three noteworthy films from the Sundance Film Festival (which was, like last year’s event, online).
.” D’Ambrose’s exceptional style and technique evoke his equally original concept of the very nature of personality and character—and of the cinema itself.
“Framing Agnes” ’s analysis of the experience of trans lives extends to the essence of self-presentation in social life.In “Framing Agnes,” Chase Joynt, the co-director of “” , goes even further with that movie’s mode of the constructed documentary. “Framing Agnes” is a film of quiet but decisive radicality that builds its own genesis and production into it. It’s a documentary based on archival footage that doesn’t exist and that Joynt therefore creates.
The performances of the transcripts bring vividly to the screen the burdens borne by trans people of even the modern past: the silences and the sacrifices, the obsessive stage-managing and taut performances of their lives—on which their safety depended.
The overwhelming force of history energizes “Descendant,” a documentary centered on residents of the Africatown neighborhood in Mobile, Alabama.The long-suppressed bearing of witness also gets a notable cinematic incarnation in Margaret Brown’s documentary “Descendant.
The film’s form isn’t quite up to the high moment of its substance or to the devoted involvement of its participants from Africatown. “Descendant” is somewhat inhibited by its impersonal professionalism:, elides the personal element—her connection to the subject and the area’s residents, the relationships on which the film depends.
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