For anyone more interested in Amy Winehouse's music than in her martyrdom, the most shocking images in Asif Kapadia's new documentary Amy may not be the ones showing her strung out and terrifyingly thin at the end of her short life, nor those capturing her turn into serious addiction in filthy, paraphernalia-strewn rooms she shared with her enabler and eventual husband, Blake Fielder-Civil.
In a 2005 essay for NPR’s “This I Believe” series, filmmaker Errol Morris laid out the personal philosophy behind his documentary filmmaking: “Truth is not relative, it's not subjective. It may be elusive or hidden, people may wish to disregard it, but there is such a thing as truth.” Documentaries, by their nature, are created not through an illusory omnipresent eye, but by a person, and from the perspective of that person.
As much fun as a tree full of toque macaques, Monkey Kingdom is arguably the most entertaining of Disneynature's eight features. But purists will recoil as soon as The Monkees theme enters, and there are times when the story told by narrator Tina Fey probably doesn't reflect the extraordinary images directors Mark Linfield and Alastair Fothergill captured.
A documentary at SXSW – “Kingdom of Shadows” – forces us to look at the ongoing violence south of the Texas-Mexico border.
The film is told through three people – a Mexican nun working to find answers about tens of thousands of disappearances, a U.S. drug enforcement agent and a former Texas drug smuggler. Bernardo Ruiz directed the film.