Formula 1

Perhaps the film that kicked off this recent resurgence was Senna, a documentary on F1 driver Ayrton Senna that was released to critical acclaim, following the driver over the course of his career to his death at the 1994 San Marino Grand Prix. The film dealt with Senna’s background, his rivalries and his tragic death. It is likely that Senna was a big reason that Formula 1: Drive To Survive was made. This is a Netflix show that condenses a season of Formula 1 into one season of television, and has been very popular and opened the sport up to new audiences. However, the show almost immediately ran into controversy about the spin the showmakers were putting on the real events. Drivers complained that rivalries were manufactured in the edit, that all kinds of events were misrepresented, put in a different context or exaggerated. This led to F1 champion Max Verstappen refusing to be involved in the show for several seasons. It has been said that some people watch F1 for the possibility of a crash, although no driver has died in a race since Ayrton Senna, and obviously a season retrospective documentary will not be breaking the news of such an accident.

The Last Dance focuses on basketball colossus Michael Jordan and the Chicago Bulls, zooming in on 1997-1998 season, Jordan’s last season with the team. Whilst a critical and commercial success, the series has faced a lot of pushback. Some of those who took part claim they were misled, believing they were taking part in a documentary purely about that season on the Chicago Bulls, not that it had a particular spotlight on Jordan. Again, there were claims some contributors were portrayed in a negative light, and Jordan, who clearly was essential for the programme, was deferred to too much. Michael Jordan’s production company, Jump 23, was additionally a co-producer on the documentary which could potentially give him even more influence.

There are documentaries that go into very dark sides of sports, such as 2024 Concussed: The American Dream, which focuses on Chronic Traumatic Encephalopathy, CTE, in American football. This condition is caused by repeated blows to the head, contrasting the careers of Tyler Sash and Brett Favre. Tyler Sash was a promising young professional football player who died in 2015 and after an autopsy was confirmed to have CTE. CTE can cause cognitive issues like memory loss, trouble concentrating, but can also lead to drastic changes in mood and behaviour, with issues like mood instability, aggression and suicidal behaviour all being associated with it. Tyler Sash’s short career and tragic death are contrasted with football legend Brett Favre, who also has had repeated concussions and head trauma from playing the sport and has become a prominent advocate in safety in football and understanding CTE. The title of the film Concussed: The American Dream is telling, as playing professional football is a dream for many Americans, but one that can leave them facing huge medical problems.

True Sport

The biggest two differences between these two true crime and “true sport” are that in sports documentaries, you are dealing with celebrities, who are usually still alive, and the trauma and negativity they portray is less destructive than violent crime. With The Last Dance, there are questions about how much influence Jordan had over the documentary; he is listed as a producer and without his involvement, would the documentary have taken place? On the other side of this issue, Formula 1: Drive To Survive had the issue of prominent drivers refusing to take part because of the problems they saw, which they can do in a TV show that goes on for years. Ken Burns, the legendary documentarian, specifically criticised The Last Dance for a lack of journalistic credibility and integrity, as it easily gave way to pressure to show Jordan in the best light.

The second difference in the subject matter is of even more importance. Of the four documentaries mentioned, The Last Dance is about the success and talent of Jordan and the Chicago Bulls, Formula 1: Drive To Survive, the excitement and tension of a sporting season, Senna, about the life and tragic death of a great competitor and Concussed: An American Dream, the suffering caused by CTE. The first two documentaries have issues, but their subject matter has less weight than most true crime dramas; while obviously Ayrton Senna’s death was tragic, the documentary doesn’t exploit that and Concussed: The American Dream has a very specific viewpoint on an ongoing problem. The manipulation of violence, death and suffering for ratings, a problem so prevalent in true crime, is nowhere near as widespread. Again, this is due to inherent differences in reporting on crime or sport; the latter has far less tragedy. It seems the bigger problem in true sport is not the trauma but the manipulation of the story, either by producers looking for more salacious plots or the very sportspeople who the documentaries are about.

The post Are Sports Docs the New True Crime? Editing, Access and the ‘Truth’ Behind the Drama appeared first on Big Picture Film Club.

A Punch for Mental Health

Founded in 2017, The Frank Bruno Foundation provides a safe, supportive space for anyone aged 13 and up facing anxiety, depression, bipolar disorder, or other challenges. Its flagship Round by Round programme pairs eight weeks of non-contact boxing training with tailored wrap-around support—boosting confidence, self-esteem, and discipline in every participant.

From Youth to Workforce

Originally focused on young people, the foundation expanded in 2020 to serve older adults juggling work and mental health. Referrals—by professionals, friends, or self-referral—begin with an early assessment, ensuring interventions match individual needs. Programs are open to residents of England, Wales, and Northern Ireland, with bespoke support for those as young as ten.

Frank’s Vision & Advocacy

Boxing legend and Mental Health Ambassador Frank Bruno MBE founded the charity to give back to his community. His candid discussions of bipolar disorder—and how exercise helped him cope—have shattered taboos in the public eye. Through his autobiography and media appearances, Frank’s honesty empowers others to seek help and speak out.

Campaigns That Deliver Knockouts to Stigma

#LetsClearTheCloud invites people to share personal journeys, helping early recognition of symptoms and showing no one faces mental ill-health alone.

#KnockoutStigma tackles judgment head-on: nearly half of respondents fear speaking up about mental health. This campaign offers a safe platform for testimony, sparking conversations that save lives.

Building Community, One Jab at a Time

Participants describe Round by Round as life-changing: learning footwork in the gym translates into agility in daily challenges. The charity also partners with local mental health services, ensuring participants have access to counselling, peer support, and employment advice.

Fighters will be screened UK-wide at select Odeon Cinema sites on Monday 23rd June and will be available on general release from Friday 27th June. Find your local screening.

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From Personal Struggle to National Community

Founder Scott Whitney became disabled overnight in 2020 and, after his FND (Functional Neurological Disorder) diagnosis, launched All 4 Inclusion in 2022 to tackle isolation in the disability community. What began as a single peer-support group has grown into a vibrant online network offering photography, art, poetry, quizzes and more—each designed to connect, uplift, and empower participants.

Innovative Services & Programmes

All 4 Inclusion’s Disability Awareness sessions bring expert speakers with lived experience to schools, businesses, and events, fostering empathy and practical understanding. Their Inclusion Awareness talks further challenge audiences to build equitable spaces, while Motivational Speaker engagements share stories of overcoming adversity to spark resilience. Each service is fully customisable and rooted in real-life insights that drive action and change

Building Bridges Through Dialogue

Loneliness affects four times more disabled adults than non-disabled peers and can lead to serious mental-health consequences. By hosting free webinars, group forums, and a bi-weekly podcast, All 4 Inclusion provides safe, inclusive spaces where participants can share experiences, learn practical coping strategies, and form lasting friendships

A Vision for an Inclusive Future

Guided by the social model of disability—which asserts that societal barriers, not impairments, disable us—All 4 Inclusion’s mission is to expand its online community and reach every corner of the UK. Their values of person-centred support, collaboration, and empowerment ensure that every initiative puts the individual’s ambitions and well-being first.

Fighters is released in UK cinemas from Monday 23rd June.

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Nominated for the Academy Award for Best Documentary Feature in 2025, ‘Black Box Diaries’ is directed and narrated by Itō herself. It shines a light on a rarely discussed side of Japanese society: a system steeped in sexism and cruel to survivors of sexual violence, not to mention the country’s neglect of those suffering from mental illness.

Reportedly only 4% of rapes are reported to Japanese authorities, and even then they’re handled under laws that date back nearly a century. The conviction rate remains low. Law enforcement often stalls investigations due to outdated views on gender, and prosecutors abandon nearly 50% of the cases they receive. Professor David T. Johnson at the University of Hawaii notes, that the result is for every 1,000 rapes in Japan, only 10-20 result in a criminal conviction and fewer than half of convicted rapists are actually imprisoned.

Adding to the grim picture, Japanese society frequently silences, shames, and discourages survivors from pursuing justice. In ‘Black Box Diaries’, Itō shares the hateful voice and mail messages she receives regularly, while people close to her urge her to walk away or report the crime anonymously.
The documentary also shows the moral failings of Japan’s justice system. The one police officer willing to help Itō stays in the shadows, afraid to risk his career. His colleagues try to steer Itō away from pursuing the case, avoiding her, dismissing her concerns, and even cancelling the arrest warrant, leaving Yamaguchi free to enjoy life as if nothing had happened.

Yamaguchi was closely connected to the late Prime Minister Shinzo Abe, on whom he had written a biography. When the case was brought before Parliament, Abe dismissed its significance, thereby erasing Itō’s humanity. This moment illustrates how untouchable Japan’s elites can be, and how deeply the political, legal, and law enforcement systems are complicit in protecting the powerful at the expense of the vulnerable.
‘Black Box Diaries’ is a testament to the aftermath of sexual assault. Itō’s struggle with depression, anxiety, and PTSD underscores the urgent need for Japan’s healthcare system to improve its support for mental health, especially for survivors and their families.

Shiori Itō is a central figure in Japan and Asia’s #MeToo movement, which still deserves far more attention, especially as momentum wanes in other parts of the world. One powerful scene shows veteran women journalists standing by Itō, sharing their own stories of harassment in a male-dominated industry where promises of promotion often mask a cycle of exploitation.

Itō reflects on how the fall of a “famous Hollywood producer” helped spark global awareness of abuse. She’s referring, of course, to Harvey Weinstein—the silver-screen Caligula now imprisoned while more allegations continue to surface. His downfall illustrates how powerful men are often shielded by a network of enablers who remain silent in exchange for career advancement.

Itō’s first book, Black Box: The Memoir That Sparked Japan’s #MeToo Movement (2021), chronicled her journey. The documentary gives us a glimpse into the investigative work, interviews, writing, and editing that led to its publication. To share one’s trauma in a memoir or documentary is not an act of narcissism—it is an act of courage. It requires survivors to relive their worst memories and discuss them publicly, bringing much-needed awareness to how difficult it is to be a woman—or anyone vulnerable in this world.
Meanwhile, Japanese media barely mention ’Black Box Diaries’, and major cinema chains refuse to screen it. This is yet another act of silencing—a new chapter in the violence inflicted on Itō. And yet, ’Black Box Diaries’ remains an essential journalistic document and a remarkable entry in the storied history of Japanese cinema.

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From her challenging early years to her rise as a defining figure in the UK ska scene, Pauline recounts the struggles against racism and the barriers of identity that fueled her creative and activist spirit. Her journey—from overcoming a difficult upbringing marked by prejudice to becoming an emblem of musical rebellion—resonates with anyone passionate about social change and cultural evolution.

This conversation not only explores the historical impact of 2-Tone music but also highlights its relevance today in conversations about gender, politics, and race. Whether you’re a documentary buff, a fan of the vibrant ska era, or simply curious about an inspiring life story, this interview is a must-watch.

Watch the full interview below, hosted on our YouTube channel.

The post Enter The Selecter: Pauline Black Reveals the Untold Story of 2-Tone Music appeared first on Big Picture Film Club.

Priscila went missing in January 2004, and the four-episode Disney+ docuseries not only presents to the viewer what transpired in those days at the dawn of the 21st century but also what has unfolded since then, considering the relatives and friends, the authorities, Brazilian society and its aftermath.

According to the 2024 Public Security Annual Report, in 2023, 80,317 missing people were registered in Brazilian territory. A rise of 3.2% from 2022, numbers that expose how deep this issue bleeds in Brazilian society. Through the picture ‘I’m Still Here,’ Brazil is getting a glimpse of what it is to have a missing one, and ‘Finding Priscila’ can be seen as a companion piece to Walter Salles’ masterwork ‘I’m Still Here’ (2024).

‘Finding Priscila’ tells the ordeal of Priscila Belfort, a young architect who was diagnosed with depression but with a happy social life and a talent for the arts. Priscila is also the sister of MMA champion Vitor Belfort, married to Joana Prado, a former TV personality. The couple are very popular in Brazilian society and were at the height of their fame in the 2000s, which ended up making the disappearance of Priscila reported by many media outlets, thus affecting Brazilian society and creating a curious feeling of false omnipresence as Priscila’s face could be seen in many places, her name was always heard, but she wasn’t at home.

Priscila’s face became a fixture in the news and TV shows, and the docuseries acts as a document on how the media could affect stories and people’s perceptions, and ‘Finding Priscila’ doesn’t forget the media dark side composed of exploitation. Outlets and media channels would reproduce many of the “hearsay” stories about the youngster, thus tarnishing her image and bringing more pain to the family, but all “in the name of journalism,” as such “professionals” usually utter.

The Disney+ production respects Priscila, the Belfort family, its viewers, and itself by avoiding such tropes and keeping seriousness and intelligence as the criteria. The soundtrack follows the narrowing and troublesome situations without having that cheesy appeal from lower productions, and in the end, it acts as a trump to ‘Finding Priscila’ as it doesn’t steal the focus from where it should be.

As a writer, I’ve covered the issue of missing Brazilian people by interviewing relatives who keep looking out for their loved ones. ‘Finding Priscila’ is very capable in representing the void that can be felt in those who are waiting for their loved ones or to at least bury their bodies. Their households also express such sensations; it is as if the air is heavier, the colors show a darker tone, and the rooms seem more spacious than they actually are.

Priscila was struggling with depression, and although it is a documentary and not a drama, ‘Finding Priscila’ is still able to capture this disease and reproduce its symptoms within the narrative as one can feel not only the sadness but the lethargy and despair that it brings not only to the person in question but also how it affects those around them.

The capacity to reproduce the sensations of absence and depression is due to the skill and craftsmanship of Finding Priscila’s team. The direction is precise, and the editing and photography complement each other, showing the beauty of Rio de Janeiro but also its shadowy corners while valuing the storytelling process and not resorting to being another “talking heads” festival.
Props also to the art department for the creative way it retells some parts of Priscila’s story, in particular her journals and artistic work, and to the writing team that sews the storytelling in a way that different threads connect and for finding light and endearing moments in a tragic story that makes the road for the viewer easier.

On the specialists’ side, the interview with journalist and researcher Bruna Rodrigues is among the best. The times that the mother, Jovita Belfort, appears are those that show how deep it cuts because, as in many stories of missing people, the one that does most of the search and takes the brunt of the suffering many times is the mother.

‘Finding Priscila’ shows a vulnerable and not much-seen side of Vitor Belfort, a cage legend, and the docuseries help humanize someone who is already so mediatized, hailing from a popular combat sport by showing a more intimate side. ‘Finding Priscila’ is haunting, urges Brazilian authorities to do more, and Priscila’s story would make a compelling live-action drama.

Rating: (4 / 5)

The post Finding Priscila: How a Family’s Tragedy Became Brazil’s Most Poignant True Crime Story appeared first on Big Picture Film Club.

50 Hours Underwater is a compelling documentary that chronicles the extraordinary journey of Shafraz (Shaff) Naeem, a renowned professional diver, dive instructor, and underwater photographer from the Maldives. Celebrated within the local dive community for his record-setting achievements, Shaff embarked on a daring 50-hour dive in Kuda Guri, South Male Atoll, in February – an ambitious endeavour marking 50 years of tourism and drawing global attention to the devastating impact of single-use plastic on our oceans.

50 Hours Underwater

50 Hours Underwater

50 Hours Underwater

In Cinemas 2025

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Meet Matt Edwards, a lower-limb amputee boxer determined to break barriers and obtain his amateur boxing license—the crucial first step toward his dream of becoming a professional fighter. But the real fight isn’t just in the ring; it’s against a system that continues to put up obstacles, reflecting the everyday struggles disabled people face simply to be included in society.

Featuring leading disability advocates such as Baroness Tanni Grey-Thompson and ‘Fury the Gladiator’ (Jodie Ounsley), Fighters not only tells Matt’s story but educates and challenges a non-disabled audience to confront the deep-rooted inequalities disabled people still battle today.

Despite living in an era of progress, disabled people are still fighting for inclusion whether in sports, broadcasting, the arts, government, media, or business. While many have made a powerful impact, others continue to face unnecessary barriers to equality.

Fighters is more than just a film – it’s a wake-up call. A powerful, real-life portrayal of one man’s relentless pursuit of acceptance and an inspiring testament to the strength of the human spirit.

This is a film that needs to be seen, not just by the disabled community, but by everyone because if you want something bad enough, you might just have to fight for it.

Fighters

Fighters

Screenshot

Fighters

In Cinemas 2025

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With the documentary ‘The Contestant’ (2023), British director Clair Titley brings not only a register on the early stages of reality TV but also on the backstage dealings of TV shows and the human need for voyeurism which is satiated by such shows because if people start to prey on neighbours, co-workers or other ordinary citizens their behaviour will be designed as bizarre if not a law enforcement matter, a line of thought that helps understanding the appeal of Nasubi’s confinement whose real name is Tomoaki Hamatsu.
Bullied for his long face as a child, Nasubi found a way out of harassment through humour and later a professional path. Japanese TV was having a moment for comedians when the king was “Beat” Takeshi, known to foreigners as the award-winning film director Takeshi Kitano (Hana-Bi).

Nasubi wanted to join this world and meet Susunu! Denpa Shōnen’s producer Toshio Tsuchiya was like talking to “a god” for a young Nasubi who took part in a selection process to know who would headline a new TV show but only later was informed about the project of his “imprisonment” and agreed as he believed it wouldn’t be shown as he had promised his mother to never appear naked; promises to parents have a different weight for Japanese people than to their Western world counterparts.

One of the highlights of ‘The Contestant’ is the back-and-forth interviews with Tsuchiya and Nasubi, showing their monster and creator, abuser and oppressed relationship dynamics, which have traits of co-dependency.
Although people were laughing at home, Nasubi had to deal with hunger, isolation from human contact, sleep deprivation, no sunlight, and no access to broadcasting. His only accessible media were the magazines he had to read to find the sweepstakes entry forms.

There are tender moments, like when Nasubi makes a stuffed seal for his friend, and others humour due to his body language and making fun to the camera because Nasubi has an innate charisma and is a natural for comedy. When the viewer laughs, The Contestant might make them question their own sense of humour because Titley’s work is a haunting experience on what might be the cruellest reality TV show ever produced.
‘The Contestant’ is also a tool that helps locate the advent of reality TV and understand its current state and how it has influenced society considering the growing numbers of influencers on social media or sex workers in spaces like OnlyFans trying to make a living out of their image and promoting situations that might be deemed controversial to be performed in public. It also dialogues with the human need to be seen and feel loved while addressing survival skills developed by Nasubi as ways to endure the contest that didn’t readily translate to outside society when he wanted to have a regular TV comedy career using his image. Later he went on to be part of many Japanese productions under his nickname.

“The spectacle is a social relation between people that is mediated by an accumulation of images that serve to alienate us from a genuinely lived life. The image is thus an historical mutation of the form of commodity fetishism,” wrote French philosopher Guy Debord (1931 – 1994) in his opus magnum The Society of the Spectacle (1967), which helps to explain the Nasubi phenomenon.

Those who followed Nasubi’s ordeal while having fun received 24/7 hours of him to alienate themselves from their own lives, as if cheering for someone who was put under a cruel game would make their lives less miserable or at least for a moment forget about their own banality. Without cliches or preconceived ideas, Clair Titley challenges us with a dark side of our own voyeurism.

The Contestant will be previewing in UK cinemas from 27th November before hitting cinemas nationwide on 29th November

Rating: (4 / 5)

The post Nasubi’s Nightmare: ‘The Contestant’ Exposes Reality TV’s Hidden Cruelty appeared first on Big Picture Film Club.

Noisecat acts as a point-of-view character who deals with generational trauma inside Indigenous peoples’ communities as his father, Ed Archer Noisecat, grew up at the St. Joseph Mission, an Indian Residential School that served as the scenario to many stories of abuse against Indigenous children.

The documentary also follows the Indigenous woman, Charlene Belleau, who investigates these stories to give a closer look at those who were members of their community in the past and present. We also see the story of Elder Chief Rick Gilbert, who, although wronged by the Catholic Church, is still attached to this faith and struggling to process what happened during his childhood. At the same time, he travelled alongside other Canadian Indigenous leaders to the Vatican to meet Pope Francis. Another passage we follow is the uphill battle of Chief Willie Sellars, who has organized and led the inquiry into St. Joseph’s history.

A scene that helps understand how systematic and normalized the violence is propagated by such institutions is when an interviewee reveals how the abuse happened to generations of Indigenous peoples at these boarding schools because his grandmother was abused by Catholic priests, as was his mother. He couldn’t escape the same fate.
The image of a crumbling statue of the Virgin Mary holding baby Jesus serves as an allegory to the story presented in this picture, as the Catholic religious structure has not only failed Canada’s Indigenous peoples but has also violated them sexually and emotionally living asunder those who are attacked, their communities, and future generations without any sort of reparation beyond expressing regret.

The Indian Residential schools started to operate back in 1894, most run by the Catholic Church, in a way to “get rid of the Indian problem.” 193 schools were funded in Canada, and the last closed in 1997. In the current cultural scenario, there is a demand that those who should tell the stories in such cases are members of said communities. This line of thought pays in ‘Sugarcane’ as the viewer can follow the process of Julian Brave Noisecat working the painful narratives that affect his life, in particular those from his father, and how they weigh in the way the documentary unfolds before the eyes of the viewer.

The author’s presence avoids Indigenous experiences falling under the condescendence of a “tourist” visiting these people’s worst moments while aiming for an empty prize in a film festival and making empty posts on undead social media handles.
The footage from a 1962 CBC documentary on the Indian Residential Schools from the past serves as a stark reminder of how appearances can be kept for decades. It becomes darker when involving minority groups that the middle class can’t “adopt” as a news flag to not feel bad for previous sins. Julian Brave Noisecat’s natural reactions as the narrative unravels make ‘Sugarcane’ a more vital experience than it already is.

The acclaimed Emilie Kass’s cinematography composes another character. Its languid shots of nature and the Canadian vastness help further the narrative, and the sensorial and emotional experiences proposed by ‘Sugarcane.’ They also give a dimension to how lost the people in this documentary can feel when they are in their privacy, staring into nothingness and trying to deal with the worst days of their lives.
‘Sugarcane’ is an example of how diverse voices producing their art and products can benefit the landscape and make people care about the ordeal of others.

The cop drama series ‘Three Pines’ (2022) brought to the mediatic attention the abuses happening in Canadian Indigenous Schools through fiction in a similar way that ‘Watchmen’ (2019) presented the mainstream public to the bombing of and the massacre of its Black denizens in 1920s Tulsa. However, ‘Sugarcane’ is not a work of fiction where good-looking samaritans will come to put an end to injustice, the documentary shows the lingering pain brought by decades of abuse and acts as not only a denouncement of how the Canadian state erodes Canadian society but also as a reminder of what lay ahead and how it can be normalized within a society and its values.

Rating: (5 / 5)

Also Read: Three Pines: The Unsung Detective Series Shedding Light on Indigenous Pain

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If all had gone to plan, that number would be higher. Unfortunately, Apollo 13, the third mission planned to land on the moon, was aborted two days into the mission, after an oxygen tank ruptured. Instead, the mission had a new objective: get the three astronauts home alive.

“Houston, we’ve had a problem”

The story of Apollo 13 is widely known, in large part due to it being dramatised in Ron Howard’s Apollo 13. Survival might not have any new revelations about the events, but it wisely focuses on Captain James “Jim” Lovell (played by Tom Hanks in the film) and his wife Marilyn. Comprised of archive footage, encompassing his family, the mission itself and at NASA, it gives a complete picture of the events of Apollo 13.

The focus on Lovell and his family proves to be the right decision, with everything going on, it’s sometimes easy to forget that three people are stranded and that there is a very real possibility that none of them make it home. Lovell himself is the most fleshed-out character, with a brief introduction reminding us how close he was to being first on the Moon. His narration looking back at key points is very insightful.

“We’ve had our crisis”

Of course, being archive footage, there isn’t quite a cohesive look to the film with various cameras and people behind them. The filmmakers have done an excellent job of finding and piecing together all the different strands, and the narrative flows very well. Like the mission itself, there are many moments of calm during the film. Perhaps the best of these occurs when the craft reaches the dark side of the moon, blocking out the sun. As we’re reminded “there isn’t really a night in space”, we are left with a stunning view of the stars.

Meanwhile, the atmosphere in Mission Control is rarely so calm, and delays in communication that last seconds feel like hours as they wait for the astronauts to respond. A few helpful reconstruction shots, help to fill in the gaps created by a lack of footage. In everyone’s defence, they clearly had other things on their mind than getting a cool shot of a warning light.

Poor Marilyn has had the worst ordeal by far. Stranded at home, she is unable to help her husband; instead, she just listens to every communication and waits. Her children also talk about their experience of this time, the agony of being unable to do anything to help and not knowing whether Jim will come home. These sequences are mostly made up of stills, with the occasional news report or home movie. The different sources almost give the three storylines their own visual style, making it easy to keep track of who is speaking, despite not being able to see them all the time

Verdict

Although the events of Apollo 13 have lived on, there is something about hearing the people involved in the moment that almost transports the viewer there. Lovell’s added narration is a nice touch and adds a sense of emotional weight and hindsight that enhances the experience. The points of view all help give a complete picture, and it’s an extraordinary tale of survival against impossible odds.

Rating: (4 / 5)

Apollo 13: Survival is available now on Netflix

Also Read: Space, Satire, and Society: Tracing the Trajectories of “Red Dwarf” and “Homeboys in Outer Space”

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About I Could Never Go Vegan

“I could never go vegan. Five words uttered around the world by many a non-vegan, but why? On a quest for the truth, a filmmaker sets out on a journey to find out the leading arguments facing the vegan movement, and if they’re justified.”

Also Read: Patagonia’s Latest Documentary “Run To The Source” Explores The River Thames Like Never Before.

The post I Could Never Go Vegan – The Critically Acclaimed Documentary Comes To Odeon Cinemas appeared first on Big Picture Film Club.

Standing 6’2″ and with an ethereal presence, Donyale Luna could be imposing or fragile, as requested by the artistic proposal. After leaving Detroit for New York, Luna captured the attention of Andy Warhol. Later, she became a protégé of photographer Richard Avedon and a muse to painter Salvador Dalí, thus becoming a fixture in the Spaniard’s movies.

The documentary is thoughtful in approaching the character’s childhood and how her public persona was already forming during the Detroit years. Luna was born Peggy Ann Freeman in a Black Protestant family, where she had to deal with domestic violence during her childhood years. During this period we see how Luna crafted her own personality, and her surroundings and reality helped foster her creative side.

The movie, directed by Nailah Jefferson doesn’t shy away from the polemic issue that Luna wasn’t vocal during the Civil Rights movement and her struggle in accepting and owning her blackness during her start, as she would present herself as a model of mixed racial background.

What can be understood is that not everybody can speak on such complex matters as racism and segregation; they are hurtful themes, and every time one debates them, people should consider that said person is cutting even further their own traumas, I live this myself. Much like football legend Pelé, Donyale Luna fought racist ideas with her very figure, achieving high places in the fashion world, and speaking out could endanger her own position and livelihood. Thus, she would have been even more ostracized.

The fact that she became a forgotten personality is one of the tragedies of her life, alongside the racism that led to closed doors during her professional journey. Supermodels Beverly Johnson and Pat Cleveland are distressed when talking about the injustice faced by Luna. The pain can be felt in their words, even when Johnson and Cleveland can be seen among the most beautiful people to ever exist on Earth, and they not only feel for Luna but probably also have flashbacks of what they endured themselves during their legendary careers.

The documentary gains fluidity by using animated art to describe the inner thoughts and struggles of Donyale Luna, furthering the feeling of ethereality that represents her private and public personas. This adds an artistic flair to a film that isn’t afraid of experimenting with different languages and stays in tune with the subject and the times and places where she lived.

By showing her being a mother in a different country while living with her loving Italian husband, the fashion photographer Luigi Cazzaniga, in the countryside, while his family didn’t accept much of her lifestyle, the film adds a narrative that makes it stand out as it respects the complexity of family interactions avoiding painting people as “good or evil” characters. The movie also touches on Luna’s experiences with drugs, as she died at the age of 33 years old of a heroin overdose, according to official sources.

The testimonial of the daughter, Dream Cazzaniga, is also powerful. It helps us understand the intimate moments of triumph and pain, and the legacy of Donyale Luna, a character who was almost forgotten and deserves to have her story told and retold, be it in documentary or feature stories or even a biopic by a major studio.

When I think about the Donyale Luna documentary, I don’t just see an important tale for young Black girls dreaming of modelling and their relatives, but also of those who don’t fit societal standards and are difficult to read. Considering the examples of current entertainment and fashion industry icons such as actress Zendaya or singer Caroline Polachek, just like Luna, there is more to them than meets the eye. Donyale Luna was a vanguard figure that many treated with prejudice, acknowledging her life and work is a step in making right with her.

Also Read: Sofía Vergara Transforms into the Infamous Griselda Blanco in Netflix’s Latest Drama

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Synopsis

Is there a spiritual way to kill an animal? This question inspires Kip Andersen and Kameron Waters to investigate what major world religions think about the topic. But upon discovering a disconnect between what organised religious representatives say about killing animals and their religious texts they begin talking to scholars and vegan activists to discover the reasons behind it, its impact and if change is possible.

What Did I Like?

Christspiracy’s purpose is simple: convince people (religious or not) to interrogate their views on eating meat and industries that kill animals. As an atheist non-vegan, I think the film does a decent job of engaging in good faith with major religions. Providing enough reasonable arguments for why supporting industrial animal slaughter is antithetical to doctrines that favour compassion for living beings. 

It also shows how organised religion isn’t necessarily reflective of its members’ views by showing how spiritual leaders can alter their messages in service of capital and hegemonic power structures. This theme is furthered by the film highlighting other causes that animal rights intersect with. Whether it’s immigrants and prisoners forced into distressing positions killing animals because of their legal status, indigenous people being forced off their lands by deforestation or toxic industrial chemicals affecting leather workers and others because of workplace policy. Each of these struggles is linked to the devaluing of life (human and animal) in favour of industry profits. But the film argues a better world is possible if animal rights are part of the struggle for justice. Because if there are humane alternatives and humans are more intelligent than animals we should try to do better. For ourselves, animals and nature.

There is also great variety in the film’s content. The use of interviewees, animation and investigation sections make for a continually interesting watch that engagingly showcases the film’s thesis.

What Did I Not Like?

Apart from the film’s variety in form, there isn’t much to appreciate about Christspiracy’s presentation. The camera work and music are mostly generic and unremarkable, serving merely as vehicles to impart its message. This isn’t necessarily a bad thing, but it leaves little to appreciate if the message doesn’t engage viewers. 

Additionally, the film’s conspiracy angle adds little to the overall experience. The narration and overly serious music in several segments feel too melodramatic to be taken seriously. Especially compared to the realness of the film’s investigative direct action segments. It feels like a desperate attempt to encourage engagement.

Also I feel the film makes major stumbles regarding the information it presents.

Difficult Discussion

Despite Christspiracy mentioning these concerns the film still feels like it’s tokenizing certain cultures (particularly indigenous peoples) to show them as alternatives to practices endorsed by major religious spokespeople and making them feel like pawns in a game rather than people. The film should have stuck to analysing the diverse attitudes within the major religions or provided space to fully explore the cultures featured.

Also, the film specifically highlights Israel’s high vegan population as a compassionate transformation and a positive for the vegan movement. But considering Israel’s government has used its vegan reputation to vegan-wash crimes against Palestinians, not disclosing this information, particularly now, when it is potentially conducting genocide and ecocide in Gaza, killing humans and animals, feels irresponsible for a film about fighting injustice.

Finally, one segment centres around Holocaust comparisons to factory farming. Although Holocaust survivor Alex Hershaft’s lived experience informed his views expressed in the film, the film’s brief use of his sentiments with little else said feels like another culture’s pain being used for expedient shock value – which feels very insensitive.

Conclusion

Christspiracy is frustrating. Its good central premise, some compelling material and variety had the potential to make a truly impactful documentary. However, it’s dragged down by a lack of unique production work which fails to make it stand out and a plot conceit that only serves to create artificial tension. Plus the lack of care given to some of its material has the potential to harmfully impact different cultures.

Rating: (2 / 5)

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The Project and McMahon’s History

The McMahon documentary series, centred around the life of the titular wrestling CEO/performer, was originally announced in 2020. According to WWE President Nick Khan, the project was going to be one of the highest-budget docuseries Netflix had produced. Then in 2022 reports began saying that the series release was possibly cancelled. Netflix supposedly pulling the title from their programming spreadsheet.

Around this time, McMahon had serious allegations made against him. McMahon already had ire surrounding him due to continuing to work WWE performers through the pandemic. Despite several wrestlers having tested positive for COVID-19. Then it was revealed he was being internally investigated regarding allegedly paying hush money to former employees and contractors. He temporarily stepped away from the WWE while the internal investigation was ongoing. He returned to the company in early 2023.

Later that year the documentary was revealed to still be in production. With some news outlets speculating on whether the project would become a film rather an a series. The project was expected to be released in 2024. But earlier this year Janel Grant came forward with a lawsuit against McMahon which accused him of sexual assault and trafficking. She is part of a group of five women cooperating with a federal investigation into McMahon. McMahon has now stepped down from his post.

Netflix Controversy

Producer Bill Simmons has stated that McMahon has no say over the final piece. So he will at least not be able to dictate how his image is used in the documentary. But as contributor Dave Meltzer said, “This changes the whole doc 100%…I don’t know how it can possibly be out very, very soon now”. As the documentary was said to be out soon will Netflix (who has final cut) be able to give time to these serious claims in a respectful manner?

In addition to the important choices facing Netflix over the documentary, Netflix has now signed a deal to become the new home of the WWE’s weekly RAW programme in 2025. And given that the brand is firmly associated with McMahon and that the WWE is implicated in the abuse it seems like a terrible idea to provide a platform to the company. Especially during a serious ongoing investigation.

What Should Happen?

So what is Netflix going to do? If they release the McMahon documentary without giving time to incorporate what has happened recently then they may look like they are trying to avoid a serious topic relating to their subject. If Netflix doesn’t release it but still hosts WWE programming, they may appear to be protecting a profitable brand. One that potentially hurt many workers. 

That said if the documentary is given enough time to update itself will Netflix allow a revealing documentary to be hosted alongside their WWE shows? As the documentary will continually remind audiences of the reported abuse perpetrated by the company’s former CEO and which is reportedly widespread at the company itself. Netflix is a company first and foremost, it’s hard to believe they would be willing to host both. As it would understandably result in audiences questioning Netflix’s decision to partner with WWE and potentially a loss in viewers.

If there is a way out of this it would be for the documentary to give time to cover recent events delicately. To ensure the people seeking justice have their chance to be heard. Or the documentary should pause until the case is resolved. Also, Netflix should cut ties with the WWE until all investigations are concluded. Only resuming if the company demonstrates itself to be a safe place. If they can’t do that then it shows that Netflix is not worthy of industry and audience trust and that the entertainment industry truly learned nothing from the #MeToo movement.

Also Read: The Struggle of Two Sons To Bring Back The Memory of Ted Boy Marino, Brazil Pro-wrestling Legend and TV Hero

The post How will Netflix’s $5 Billion deal with the WWE affect its documentary on Vince McMahon in light of recent allegations? appeared first on Big Picture Film Club.

Carlos and Elsa are pioneers of the Chicano Art Movement, a groundbreaking period in artistic life in the United States of America that started in the 1960s and saw Mexican Americans questioning through their painting and other art forms their place within a society that was living the days of the Civil Rights Movement struggling with the establishment that values some Americans over others while denying minorities not only their citizenship but their very own humanity.

The Chicano Art Movement was influenced by the Chicano Movement (El Movimiento) and brought vanguard ideas that gained traction in the aftermath of the Mexican Revolution, amalgamating with pre-Columbian art and European painting techniques and all infused with Mexican American social, political, and cultural struggles. Those were the days that Mexican Americans and Latinos were dealing with the gut punch that was the death of the Campesino leader César Chávez, who fought for better conditions for Mexican American workers. Arguably, the most accomplished artist from that movement is Carlos Almaraz.

Almaraz’s paintings document the daily struggles of being a Chicano in Los Angeles that is boiling with racial issues because, different from what many know, the Blacks weren’t the only ones affected by the White Anglo-Saxon American way of life that marginalized other lives and narratives.

The documentary shows with accuracy how the era from which Almaraz came played a role in his formation as an artist and human being, which can be seen in the subject of his works like the series of freeway crashes displaying how fiery and nihilistic can be the ending of those living in L.A., in particular its Latino population that to this day is still represented as material for manual labour in many mediatic depictions.

It is one of the trump cards for this documentary as many are not acquainted with the Latino reality in the U.S. It also further shows how complicated the relations between these Chicano artists could be that some ended in animosity, thus making this documentary a grounded work.

‘Playing with Fire‘ also goes the distance by highlighting Almaraz’s queer identity and experiences for today’s world, considering that the LGBTQIA+ community has been suffering from prejudice and backlash, as seen with the rise of extremist forces in society while at the same time, it avoids the clichés from the lower side of identitarian politics. The movie gives a scope on how complex Almaraz was, which furthers the experience of understanding his art as seen in the 1980’ painting ‘Devilish Passion’ where a human and a demon are depicted fellating one another.

One of the best parts is approaching his creative method and his studio; only some people outside the art world and the media comprehend how artists work and the demands it takes on their minds and bodies to the point that many see art as a hobby. These scenes, combined with the background given by the doc and the insights on his persona, help the viewer come closer to understanding his paintings and their meaning that, after decades, are still current.

By having the actor Edward James Olmos doing the narration, Playing With Fire adds gravitas to the final product as the Oscar-nominated actor and activist is a patriarchal figure to Latinos and, in many ways, represents the best these incredible part of American society has to offer, if the cinema community were apprehensive about diversity, it would treat Olmos with the same deference designated to Robert De Niro and Al Pacino.

The editing is also a strength of this picture, as its fluidity makes the subject even more engaging, thus attracting not only those contemporaries of Carlos and Elsa but younger generations as well. ‘Playing With Fire’ is a hidden treasure in the Netflix sandbox and one documentary that needs a physical copy in arts colleges across America and abroad.

Also Read: The Art of the “One Shot” Film

The post Carlos Almaraz: Playing With Fire – The Documentary That Dives Deep Into the Chicano Art Movement appeared first on Big Picture Film Club.

“Ted Boy was very beloved. We interpret him as a superhero of his period, from the mid 60’s to early 70’s. Later he kept working on TV and became a person that TV station directors always wanted to see on the screen because Ted Boy attracted the public’s curiosity beside ratings,” says Ted Marino about his father in an interview with Big Picture Film Club. To him, the pro-wrestling father was forgotten by the media but is still cherished by the public, particularly by those who are above 50 years old and followed his career.

A recurring image of Marino consists of the agile grappler in the black speedo and white boots entangling the rival head with his legs and performing a somersault that brings the opponent to the mat; the audience in a packed stadium cheers and howls the blonde wrestler who just showed his finishing maneuver: the Flying Scissors (Tesoura Voadora). The excitement in attendance is shared by the millions at home watching in their TV sets: some coloured, some in Black and White, all watching the king of the local pro-wrestling scene, or “Telecatch” as how it was named in the nation. 

Born in Italy, Marino escaped World War II with his family to Argentina, but it was in Brazil that the Roman centurion face, toned body, dark eyes, and blond hair in a bowl cut Marino became a hero figure in a country that was emerging in the international scene with samba, bossa nova, cinema novo and sports names like Pelé, tennis player Maria Esther Bueno and boxer Eder Jofre. To the nationals, Ted Boy Marino was hailed as one of those big names but the first blow he would suffer happened by the late 1970s, when pro-wrestling was assaulted by TV executives and the military dictatorship governing the country during those dark years, few in the country know the role the dictatorship it played in telecatch’s downfall.

“In the 70’s, the Telecatch started to lose momentum to other sorts of content and all of them started to compete for ratings. The Globo group changed its strategy to reach the audiences and changed its programming by relegating Telecatch in a second tier. To add insult to injury, the censorship imposed by the (governmental) dictatorship also started to boycott Telecatch as that sort of entertainment wasn’t aligned with the ‘values’ wanted by the dictatorial regime in power.”

Although pro-wrestling lost space to other productions in Brazilian television, different from many of his peers Marino kept displaying his acting skills and professionalism in TV shows and movies for decades. As happens to many talents and public figures in the country, it was in his winter that the invitations to be part of productions and public appearances dwindled. Hence, his children knew that it was up to them to remind their country of who their father was even considering the hardships of the Brazilian movie industry to those who aren’t tight with powerful players.

Dropkicking a concrete wall of barriers 

A newsroom journalist, Ted felt the rude awakening of transitioning to film documentarist in a DIY operation, at the beginning he felt that some of the already existing archives were amateurish, still once he was able, he hired professionals to help produce his herculean task. 

When asked about the initial barriers faced, Marino points out how the support of friends and professionals helped in the project. “I also rely on professional producers capable of correcting the amateurish work that was performed without much technical knowledge but needed to exist as they are because they reflect those times. Luckily, my producer side manifested in me before the need and the fact that only I could organize all those stories that were passed to me by my father, Ted Boy, during his lifetime, by his friends, relatives, and all documented history in his humongous personal archive. It is for a reason that we recorded him, and he comes as the fundamental piece telling his own story.”

Although Ted Boy was a fixture in Brazilian television sets, the Marino brothers are doing the legwork by themselves ranging from digitalizing the extensive archive owned by their father, interviewing the main character in his final years as also those who were part of his story, including leaving their home in Rio de Janeiro to other parts of the country and abroad.

“What I face in my quest for sponsorship and support is that biographical documentaries are not perceived as money makers by Brazilian investors. Which is what we lack to be able to finish it, including getting the authorization related to copyrights. For instance, we have footage in Italy, where he was born, in Argentina with his family that still lives there after fleeing from the war. Alongside my brother Tiago, I traveled for 20 hours to interview the wrestler Aquiles who lives in São Paulo’s countryside. Besides the vast documented material from those days, humorous illustrations also help us to tell this magnificent story,” points out Ted Marino.

Another issue is how demanding producing a film can be, in particular in a country that seems to be not only against memory but culture as well. “Sometimes I’m suffocated by my anxiety and by being hard on myself” reveals Ted Marino in our conversation.

The Brazilian duo is in a race against time as the contemporaries of their father are passing away; nevertheless, their documentary may entice the interest of viewers in countries like the USA, Mexico, Japan, United Kingdom, and Canada that have a developed pro-wrestling culture. 

In our talk, I recall the younger Marino that in recent years Brazil has been producing biopics and series on some of its most acknowledged names among them pugilist Eder Jofre, and singers Elis Regina and Gal Costa. “I believe that great names don’t happen by chance. I can’t see someone, including those you mentioned, climbing the hill by chance. They were gifted. With Ted Boy things didn’t play out differently and once we started to look at his story, which few people know, it is hard to envision how high he climbed.”

The Marinos’ craft is not only based on devotion but on the hope of seeing their father and their work recognized and it strengthens the belief of the brothers in their film: “His story is segmented in rounds (the way we decide to cut it in the documentary). He was like a Brazilian superhero; you can ask that to any Brazilian 50 years of age or older. Still, when people become aware of what he went through to achieve what he did, when they can grasp what was the main goal of his life: hands will be clapped, and eyes will be teary.”

Although locked in an uphill battle, Ted Marino never lost sight of where their vision can lead and with the confidence of a superstar wrestler, he tells me about it: “We were able to produce a biographical work telling an emotional trajectory of struggle and overcoming the odds, which is so enthralling that it feels like a dramatic biopic that will appeal to many professionals. We want and believe that this documentary has an enormous potential to attract producers and writers from the movie industry to adapt it as a drama. I won’t mince words; his story is really outstanding!”

Also Read: Cassandro: Unveiling the Masked Emotions of Lucha Libre

The post The Struggle of Two Sons To Bring Back The Memory of Ted Boy Marino, Brazil Pro-wrestling Legend and TV Hero appeared first on Big Picture Film Club.

Synopsis

Hollywood Dreams and Nightmares gives us a tour of Robert Englund’s life. From his beginnings as a child theatre actor who disappointed his parents by not becoming a lawyer through the many film and TV highlights of his nearly five-decade-long career in front of and behind the camera, and to his role as Freddy Krueger, which turned him into a legend. But the film also looks at his impact on those around him. Including the actors and directors he has worked with and his romantic relationships.

What Did I like?

I like the full picture the film gives of its subject and his impact on his colleagues. Near the film’s beginning, Robert says how fantastic it was to receive compliments for his early work. As it helped him feel confident in himself. From there, through the film’s many interviews, we see how that relatively little act helped create the Englund of today. He becomes someone always willing to give an assuring word to veterans and newcomers. And the love and care that Englund gives to analysing his roles, no matter how minor, really showcases someone who loves every bit of what they do. It helps that Robert is a naturally compelling interviewee. His laid-back manner and lovely voice make him a pleasure to be around. By the film’s end, we feel like we really know Robert. Additionally, the way it delivers its message about kindness and acting power is infectious, made even more brilliant by every other interviewee being engaging presence.

Highlights include Heather Langenkamp, Tony Todd, Kane Hodder, Corey Taylor, Gary Sherman, and partner Nancy Booth. Listening to them talk about how Robert helped them in their work/personal lives and how they are so close, particularly, Nancy’s retelling of their burgeoning relationship and Heather’s imparting of a personal tragedy, gives great insight into what kindness can do in a sometimes toxic industry.

And the film flows incredibly well. Editors Peter Appleyard and Christopher Griffiths give just the right amount of time to each subject to make it feel needed. Never allowing segments to overstay their welcome. Thus the runtime flies pleasantly by.

What Did I Not Like?

Being a Nightmare on Elm Street fan I have watched several behind-the-scenes documentaries concerning the series over the years. Unfortunately, a vast proportion of this film feels like it’s retreading old ground. It’s obviously unavoidable as Freddy Krueger is a hugely important part of Robert Englund’s life but I can’t help but feel a little tired. Though this may not be a problem for everyone.

That said another thing that holds the film back is its rather bland presentation. Despite the best efforts of the participants and the intermittent use of animations the film still doesn’t have the energy it needs to be cinematic thanks to odd framing, flat lighting, and bland music. It feels like a rather generic horror documentary more suited to being a NoES series home media bonus feature. 

Lastly, the film really seems rather lacking in diverse material. Mostly relying on old footage and talking heads to deliver a story. I feel like more could have been done to dynamically showcase Englund’s career. Like a home tour or a visit to the set of a current project.

Verdict

Hollywood Dreams and Nightmares is an average film about an amazing subject but features lots of heart. It suffers from its generic presentation and content style which doesn’t differentiate it from many recent horror documentaries, and its unfortunate need to discuss an already well-covered cultural touchstone. But it’s salvaged by its thorough focus on a fascinating, talented actor who brings out the best in those around him, some great interviewees, a good pace, and a fantastic central throughline emphasising the value of kindness. It’s amazing that the man who scared a generation is so nice.

Rating: (3 / 5)

Hollywood Dreams & Nightmares: The Robert Englund Story will be available on the Icon Film Channel from 2nd October. And will be available on Blu-ray and Digital Download from 6th November.

Also Read: The Horror Crowd: An Insightful Documentary For Fans of the Genre

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About Once Upon A Time In Uganda

A wild documentary that takes you into the heart of the action-packed filmmaking town, lovingly known as Wakaliwood. Set in the heart of Uganda, two unlikely friends, brick-maker Isaac and film nerd Alan, unite over their shared love of Chuck Norris and gonzo 80’s action flicks. With sheer determination and an outrageous sense of humour, they team up to create their own explosive movies, catapulting Wakaliwood to international stardom and bringing laughter and joy to millions.

Your contribution to Big Picture Film Club will allow us to continue to produce content. No matter the amount your contributions are greatly appreciated.

The post Documentary “Once Upon A Time In Uganda” To Be Released In Odeon Cinemas September appeared first on Big Picture Film Club.

A Brief History of Cinema Novo

Although the term ‘Cinema Novo’ has been used since the 60s, it is more of a retrospective term. The filmmakers of the time did not actively create films to fit into the description of Cinema Novo. It was an open practice which evolved naturally alongside the political and cultural changes of the time.

In the 1950s, Brazil mostly produced comedic musicals called chanchadas in the style of Old Hollywood. However, at the end of the decade, Brazilian films began to focus more on topics of social justice. This was as the country faced political upheaval as it entered the eras of Brazilian Presidents Juscelino Kubitschek and João Goulart. Cinema Novo did not have a defined style, but it picked inspiration from European film movements like French New Wave and Italian Neorealism.

The French New Wave saw the popularisation of the ‘auteur’ theory, which views the director as the creative lead of a film and therefore its author. Italian Neorealism was a style of politically-driven filmmaking in Italy following the 1943 Italian Spring. It explored topics like poverty and injustice, and Cinema Novo followed in this regard. The onset of Cinema Novo was also the first time Brazilian film began to receive international critical acclaim.

Cinema Novo is often divided into three phases:

Phase One (1960-1964)

The beginning of the movement focused on political themes like poverty, racism and social inequality. Violence was a common denominator which reflected the frustration of the society of the time. Films were often shot in black and white as a stylistic choice that deviated from the more polished Hollywood-esque style. The economic instability of Brazil was reflected in the lowered technical precision since filmmakers lacked the funds for higher-quality equipment. Glauber Rocha, who released the cinematic classic Black God, White Devil in 1964, was one of the notable directors of this phase.

Phase Two (1964-1968)

This phase was a reaction to the overthrow of the popular President João Goulart. The population faced disillusionment as many of his progressive changes were rolled back after the military coup. The pro-democracy ideals of the first phase began to seem unrealistic, and filmmakers began to move towards commercialization. The ‘aesthetic of hunger’ which was popular in the first phase gave way to a concentration on middle-class protagonists. This was a bid to create films more relatable to a larger audience. There was also a move from black and white to colour. This was first seen in Leon Hirzshman’s Garota de Ipanema (The Girl from Ipanema) (1967), one of the quintessential films of this time.

Phase Three (1968-1972)

The last phase of the movement is sometimes referred to as the cannibal-tropicalist phase. Its tropical nature refers to the return to colourful aesthetics reflecting the Brazilian jungle. These had been popular before Cinema Novo. Cannibalism, in this case, was both literal and metaphorical. The best example of this is Rocha’s black comedy Como Era Gostoso o Meu Francês (How Tasty Was My Little Frenchman) (1971). The film involved the literal cannibalism of a Frenchman, to represent how necessary violence is in enacting social change.

Impact

Cinema Novo had a definite end in the 70s with Brazilian film moving towards more commercial projects and government-backed film under the Embrafilme company. In spite of this, it has had a lasting impact. Cinema Novo is considered the beginning of the Third Cinema, a wave of socio-political cinema that popped up all across the globe. From Hong Kong to Australia and everywhere in between, the movement of socially conscious films changed how we view cinema. Eryk Rocha, the son of Glauber Rocha, paid homage to the movement through the documentary Cinema Nova (2014) at the Cannes Film Festival.

Also Read: Global Cinema Spotlight: Lollywood

Also Read: Interview: City of God’s Alexandre Rodrigues Discusses The Film’s Impact 20 Years Later

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About While We Watched

While We Watched is a newsroom drama intimately chronicling the working days of broadcast journalist Ravish Kumar as he navigates a spiralling world of truth and disinformation. As factual reporting is in freefall globally, WHILE WE WATCHED is a dignified lens into the abyss.

Watch the full interview with Vinay Shukla below.

Also Read: Political Thrillers: Between Fact, Fiction, and Hidden Agendas

Your contribution to Big Picture Film Club will allow us to continue to produce content. No matter the amount your contributions are greatly appreciated.

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Liselotte Vanophem (Big Picture Film Club): Congratulations on the amazing documentary. How did you guys meet?

Frédéric Tcheng (Invisible Beauty): We met because we made a short movie together for the CFDA in New York. They needed a 3-minute film to introduce her on stage, and I was approached to make that 3-minute film, and that’s how we met. I didn’t know who Bethann was because I’m not much of a fashion guy, even though I’ve made a lot of fashion movies. We sat down to interview for that short film. For a 3-minute film, I interviewed Bethann for like 5 hours.

FT: There’s much to discuss, and I said, “Well, this is a very special person.” And we kept in touch. Bethann told me about the feature film that was more about the industry. And then, over the years, we started talking about making a new film that was more about her, the people in her life and her influence. Three and a half years ago, four years ago, we started working on that.

LV: You mentioned that you interviewed her for five hours for the three-minute video. How long did you film to make this movie?

FT: We wanted to make a documentary representing her life. A great woman like her deserves a great documentary. The first cut we had was a documentary of around 7 hours.

Bethann Hardison (Invisible Beauty): I like that first cut of 7 hours. That’s when he had to get into it and cut it to something he could present to me.

FT: After that, we got it down to four hours.

BH: Four hours was so good!

FT: Sadly, we had to cut even more. The result may be a bit longer than most, but that’s because people sit there watching this movie and want to see more. It was just a lot—a lot of stories to tell. We had to make choices about what thread we were following. The thread in the film would differ from the one in the book. It was the thread of advocacy. And you know, that’s how we saw it. It shaped the art of the story. All the collaborators and fashion people in this movie did something interesting and amazing.

LV: Because you had all the footage, were there any ideas of turning it into a limited series?

FT: Well, we did talk about making a series. But we got shut down by our producer, Lisa Cortez, who said that our investors had signed up for a feature film. So we had to deliver a movie. It’s good to have that constraint. We have to make choices about how we tell the story. It was a long path. But I was already very happy that Bethann was proud of what we had made. She always tells the truth, and if she was not going to like it, I would have felt like I had let her down. I didn’t want that. And so when she saw the four hours and said, “You made me a believer in my own story”, that was like a huge relief.

 LV: Did the writing of the book influence the film and vice versa?

BH: No, not really. They’re both about two different things. The book had nothing to do with the film. Because I have so many relationships, it helped me to tell my story in the movie.

FT: There were so many stories about, for example, the relationships with Jean-Michel Basque, but we couldn’t fit that in the film. That’s because we had to stick to Bethan’s story. It was important.

BH: But those stories could be included in the book. I need to finish my book because everyone is now seeing the film.

LV: Does that put more pressure on you?

BH: Yes, there was no pressure when they started to film, but because of the documentary, the audience wanted to see more, and I can feel the pressure. Not sure if the book will be as good as Invisible Beauty, though.

FT: It will be. I’ve read some pages. I can’t wait for everyone else to read the book. I told Bethann that I like her writing. She’s a writer. She didn’t need a ghostwriter. I told her not to get one. She has a voice of her own.

LV: This documentary highlights the beauty industry and the lack of diversity. Do you think the revolutionary things you did are also the perfect way to see even more inclusivity? Let’s say seeing models with a disability or models that look more like the women we see in the street.

BH: That’s where I have a problem. I give so much more credit to the outside world than to the little island of fashion. On one side, you have the world, and on the other, this stupid little island of fashion. That little island represented how a model looked in my day. People have so much style and personality, and it’s nonsense to want to become like the model you see. I believe the fashion model should be something we don’t want to be. That island is them. When I go around the world, I meet many young people who say they want to be a model. What a model is, is so broad these days. So many people can be a model.

LV: What can we do as consumers to show the fashion industry that we want more inclusivity and diversity?

BH: That change is already happening. The voices for change are here. You see mixed-race families. You see, same-sex marriages.

LV: Invisible Beauty was screened during the Sundance Film Festival London. Are there any other festivals the documentary is going to?

FT: We have had a nice festival run so far. We were in Toronto, Tribeca, Seattle, San Francisco; you name it. The film will be out in the US on the 15th of September. It’s very exciting for us to get a theatrical release.

Also Read: Review: Invisible Beauty

Your contribution to Big Picture Film Club will allow us to continue to produce content. No matter the amount your contributions are greatly appreciated.

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The most influential figure in the fashion industry you might not have heard off

The documentary opens with many influential fashion and entertainment industry figures praising Bethann. From Tracee Ellis Ross to Zendaya and Whoopi Goldberg to Fran Liebowitz, they all give short testimonials about what this fashion trailblazer meant to them. We see more comprehensive interviews with people such as Iman, Campbell and Beckford to get to know even more about Bethann. Her teenage years were rough due to the strict upbringing by her father, but Bethann isn’t afraid to admit that that is what makes her so determined.

After attending FIT and NYU, she became a saleswoman in the clothes district, and it didn’t take long before she was noticed by the big fashion names, even if it was unintentional. Black designer Willi Smith was the first one to give Bethann a model job, and her androgynous appearance, expressive look and outgoing personality made Bethann a popular model in the ‘70s as she walked alongside the likes of Pat Cleveland, Beverly Johnson and Iman.

She realizes that while some black women and people of colour are walking the runway, the % could and should increase even more. She wants to tackle that racism and lack of representation from the inside, so she decides to become a model and booking agent. In 1984, she launched the Bethann Management Agency. Her agency has received worldwide fame for discovering the most dynamic and diverse models from different backgrounds, including Kimora Lee Simmons and Veronica Webb.

Her impact became even more significant when she co-founded The Black Girls Coalition with Iman in 1988 to support African American models in the fashion industry. Bethann’s influence on the industry can’t be underestimated, and when she sees that it is all going in the right direction and that the people around her can take over the baton, she retires to Mexico to decide what she wants next in life. However, when the white homogeneity and “heroin chic” take the industry by storm, she’s forced out of ‘retirement’ with a bombshell press conference…

The traditional but effective way of documentary-making

Invisible Beauty is being told in the usual straightforward and traditional way. We see testimonials from the biggest people in the fashion world and Bethann’s son Kadeem. Of course, there’s Bethann, who gives us a very up-close look into her personal and professional life. The interviews are accompanied by runway show footage, press conferences and pictures from her childhood. We gain more insights into what was happening in the fashion industry, Bethann’s revolution and the relationship between media and the fashion industry. We all know that the images and videos we see shape how we see the world, and this documentary is the perfect reminder of that.

A must-see documentary full of passion, fashion, diversity and determination!

Bethann’s fire has been blazing for almost five decades, and she will continue for as long as possible. Her love for fashion, drive for change, and bubbly, outspoken personality are some things we all have to admire and praise. Her enormous contributions to the (fashion) world don’t all fit in this documentary (or in the book Bethann’s writing), but the stunning Invisible Beauty certainly tries and succeeds in showing us Bethann’s remarkable life in the most inspiring, affecting and fun way possible!

Invisible Beauty was part of the Sundance Film Festival London 2023 and will be out in the US on the 15th of September.

Rating: (4.5 / 5)

Read our interview with Bethann Hardison and Frédéric Tcheng here.

Also Read: Vanessa Oliveira Discusses Documenting Afro-Brazilian Culture

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The post Review: Invisible Beauty appeared first on Big Picture Film Club.

Watch the full interview below

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Your contribution to Big Picture Film Club will allow us to continue to produce content. No matter the amount your contributions are greatly appreciated.

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From the extremely busy Hong Kong to the tranquillity of Iceland

In 2018, Hong Kong was ranked as the 74th saddest population in the world. That heartbreaking fact is what Chan and Lam want to bring to the audience’s attention. Finding Bliss follows musicians such as Josie Ho (HK singer/actress), MC Yan (street artist and rapper), Jimmy Mak (guitarist), Ceung Yee-sik (drummer) and Jan Lo (singer) on the journey to self-improvement and happiness. Ho explains how living in Hong Kong is depressing and stressful and that Hong Kong is a place where people lose touch with who they are. To undo that damage, the group entertainers embark on a trip to Iceland, where they want to find sanctuary, peace, happiness and bliss. Inspired by the philosophy of Philippe Gaulier, they make short videos in which they explain what they’re feeling and how they are improving themselves throughout this trip.

Find happiness within

It’s clear that finding yourself, peace, and happiness is the most essential things in life. Unconsciously, many of us try to find that happiness and validation outsides ourselves, mainly through the praise of others and material things. Therefore we might forget what really matters in the end. In one of his classes, Jim Chim (motivator and entertainer) shows us how glorious and rich our lives would be if we allow ourselves to make mistakes and to be ourselves unconditionally. The key to happiness starts within and not by looking at the external world. In Finding Bliss, you see many moments during which the group enjoys the little and simple things in life, such as being together, playing around and having a good laugh. This proves that societal barriers can be torn down by just being who you are.

What makes that message even stronger is the beautiful parallel between the group’s search for freedom and the stunning scenery of Iceland. The strong wind, the unexpected explosions of the geysers and the significant manifestations of nature are metaphors for people finally having a mind-blowing epiphany that the way to freedom is just to let go of the norms and prejudices. Being yourself can enrich your life, just like becoming one with nature.

Living in Hong Kong can feel very hectic, and while it’s the way of life, you have to find the right balance between a business-centric lifestyle and necessary tranquillity. Those contrasting elements are beautifully represented on screen by the fire and ice of Iceland. It’s crucial to find a balance between the two so that you, as a person, can survive. The search for yourself can be very intense and powerful, and Chad and Lam manage to capture feeling by integrating strong rock music into this documentary.

No drastically life-changing but the perfect guide to peace

While this documentary isn’t drastically changing everyone’s lives, it’s a great guide to help you find peace and joy. It also shows us that you can and must trust your inner self. After all, you’re the only person who can figure out where to find your bliss and happiness.

Finding Bliss is part of the UKChina Film Collab’s Odyssey Film Season at Battersea Power Station. Click here for all the information.

Also Read: Sustainability Is Never a Boring Topic, See How Chinese Young Filmmaker Hong Ning Perceives ‘Global Sustainability’ Through Images

Your contribution to Big Picture Film Club will allow us to continue to produce content. No matter the amount your contributions are greatly appreciated.

The post Review: Finding Bliss [Odyssey 2023 Film Season] appeared first on Big Picture Film Club.