CBS
The promotional copy for "Bodyguard of Lies" ahead of its Tribeca screening said that Dan Krauss's documentary "rips the veil off one of the most costly and controversial chapters in recent American history: the war in Afghanistan." How many people are still behind a veil of ignorance at this point about the Afghan War as a piece of U.S. foreign policy is a question. You might also note the spotting of the word "recent," since as the documentary itself points out the legacy of the Vietnam War lurks in plain sight and not all that far in the past. Neither equivocal nor designed to be, the film puts on-camera statements and speeches from U.S. politicians and military leaders during the war next to material from the later "Afghan War Lessons Learned" interviews, a set of recorded debriefings loosely instigated by Congress and which formed the basis of a Washington Post exposé in 2019. The Post is among the producer credits here, making this doc an adjunct to its existing reporting on the topic. It hardly needs saying that the public statements and the private testimonies are from different planets.
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Courtesy photo
"Nothing here but history," sang those astute cultural archeologists Steely Dan in "The Caves of Altamira," as the song's protagonist went looking for ancient figures on the wall of an underground cavern. Altamira and a few other famous prehistoric sites crop up in Robert Macfarlane's 2019 nonfiction book "Underland," which takes a bracingly broad and poetic approach to what lies below the surface of the Earth and finds that history is only the start of it. "Into the underland we have long placed that which we fear and wish to lose, and that which we love and wish to save," writes the author, invoking the mystical element that hangs over both his book and the documentary now made from it by Mr. Macfarlane and director Robert Petit, with the involvement of Darren Aronofsky as an executive producer. Venture below the surface of the world and things usually separate come close together: science and magic, past and future, oxygen and poison, plus the members of a documentary crew squeezed into alarmingly tight spaces.
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Haut et Court – Maipo Film – Versus Production – Good Chaos – RTBF/Sundance Institute
A stark winter landscape in the Norwegian Fjords is the third key player in "Sukkwan Island," in which a father and son set out to spend an entire year together largely isolated from the world, at the father's instigation. It seems that Tom (Swann Arlaud) hopes to strengthen his relationship with teenager, Roy (Woody Norman), after some kind of messy divorce from Roy's mother, Elizabeth (Tuppence Middleton, too briefly). But Tom is twitchy from the start. Psychological cracks are clearly going to split open out in the wilderness.
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Mstyslav Chernov/Sundance Institute
2000 Meters to Andriivka (2025)
The documentary "2000 Meters to Andriivka" takes its
Sundance Film Festival audience back to the 2023 Ukrainian counteroffensive against invading Russian forces, an operation with mixed results now recorded in the books and which even at the time seemed likely to turn into grinding costly warfare. That description looks like a light euphemism while watching Mstyslav Chernov's documentary, built around first-person footage from body-mounted cameras worn by Ukrainian soldiers and by Mr. Chernov, embedded in their brigade and coming under as much fire as the rest of them. The military goal is the strategic village of Andriivka, approached via a dead-straight strip of charred forest between two large and deeply cratered mine fields; not the last time that the film's visuals have an aura of the fictional about them, the harshest battlefield a production designer could concoct. A Ukrainian soldier himself says it's "like another planet." But this is all humans at work.
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Sundance Film Festival
No one in "André is an Idiot" actually quotes the eminent philosopher James T. Kirk and says that how we deal with death is at least as important as how we deal with life; but the ethos of Tony Benna's documentary speaks for itself. Fictional and factual art about facing terminal medical diagnoses and imminent reunion with the cosmos isn't exactly thin on the ground, although the universal sympathies of any nonpsychopathic viewer are pulled out freshly painful every time. The success of the art as art comes down to the nature of the person in the frame. In this case that's extrovert ad executive and loving, if mildly madcap, family man André Ricciardi, whose delay in getting a colonoscopy when warning signs appeared at the age of 52 leads to the discovery of a huge Stage IV colorectal cancer tumor, one that had been lining up his destiny for a while.
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Kino Lorber
According to the cliché Paul Schrader's tormented males journal their pain and get it down on paper; but in "Oh, Canada" Leonard Fife (Richard Gere) might struggle to hold the pen. Enfeebled by terminal cancer, stuck in a wheelchair and in need of assistance on and off the lavatory, Leonard does a more cinematic thing and unburdens himself to a camera instead. As a renowned documentarian - the "Ken Burns of Canada" we hear - Leonard is supposed to be telling a camera crew about his life and times, including the 1960s flight from the U.S. Vietnam War draft that took him to the slower waters north of the border in the first place. This testimony involves Leonard directly addressing the camera, which the film, as an inside joke, calls the signature style of his documentaries. Mr. Schrader and anyone familiar with the work of Errol Morris knows that it's actually the Interrotron set-up that Mr. Morris uses for his own documentaries, designed to torment interviewees and lever confessions out of people who know they have things to confess. Leonard fits the bill.
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International Film Festival Rotterdam
"Steppenwolf" starts and ends with recreations of the doorway shots from "The Searchers," which is wearing your Western heart on your sleeve; it also reverses one of them to say something different than John Ford had in mind. In between, writer-director Adilkhan Yerzhanov lays other Western homages on thick, and adds some samurai tones via Quentin Tarantino. But the presiding spirit in "Steppenwolf" is Sergio Leone, whose high-drama low-dialogue tactics Mr. Yerzhanov embraces like a favorite uncle. The film is set in some stylized form of the modern era, with truck convoys and armored cars and militarized police stations; but inside them the scowling taciturn men of Kazakhstan show unrefined Spaghetti Western cynicism about anything other than their own self-interest and whale into each other with claw hammers.
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Fourth Act Film
After centuries of conflict and decades of occupation by the latest foreign army, a country picks up the pieces. Local politics reforms; young men look for work; a diminished government takes stock of its military equipment to work out which guns function and which might fall apart when anyone pulls the trigger. It also ponders, in this case, what to do with $7 billion-worth of the most advanced efficient killing technology in existence, left behind by the United States. For this is Afghanistan in 2021: the weapons are those given to the Afghan government by the U.S. before the latter withdrew chaotically and the former fell apart; and the people finding the stuff left behind are the Taliban.
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Tribeca Festival
Andrew McCarthy was a likable young actor in his 20s and now makes a likable documentarian in his 60s, digging back into his own past life. "Brats" follows Mr. McCarthy on a road trip visiting some of the other former members of the group of 1980s actors loosely – or lazily – grouped together by the media under the label of "the Brat Pack," although the looseness and laziness of the term are two of the things that prove to rankle interviewer and interviewees alike. Having already written an autobiography under the title "Brat: An '80s Story" in 2021, Mr. McCarthy has gone from the singular to the plural, reconnecting with actors and crew he has not seen for decades, to test whether they are still unnerved by the memory of the B-word as much as he is.
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Tribeca Festival
S/He Is Still Her/e – The Official Genesis P-Orridge Documentary (2024)
This film is subtitled "The Official Genesis P-Orridge Documentary," writer-director David Charles Rodrigues having received access to relevant family archives and the approval of the subject's daughters, attached here as executive producers. Whether official can mean definitive in this case is a different question. What would a definitive portrait even be of the English musician, performance artist, occultist, antagonist for the Britain's moldering Conservative establishment, loving parent, esotericist, associate of William S. Burroughs and protean engineer of their own identity in both mental and physical terms? Any 98 minute snapshot will only be a cross section, a slice through the matrix, a prompt to see how someone else's mapping of their own innerspace might shed some parallel light on your own.
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