Tag Archives: Documentary

American Factory (2019): A Glimpse into the Future of Blue-collar Jobs in America

For decades American businesses have been investing in China to manufacture goods at a significantly reduced cost compared to their domestic counterparts, cutting thousands of American jobs but improving profit margins. American Factory explores the inverse scenario. With China’s growing economy and surplus capital available, a Chinese company named Fuyao decides to open up a US-based manufacturing site in Dayton, Ohio, taking over a closed GM plant. The impact of new jobs on the hurting local economy is exciting for everyone involved, but the blessing has its own complications. Filmmakers Steven Bognar and Julia Reichert filmed the entire process of opening the plant under Fuyao’s banner and the following results. They had previously documented this same area in The Last Truck: Closing of a GM Plant, so the team was deeply familiar with the subject.

As expected, there is a major culture shock. The large number of Chinese staff brought to help manage the plant and train the new employees don’t all speak English and many have never been to the US before. They have a completely different standard for employee performance and a different way of communicating. Watching the cultural training sessions is an insightful look at how another culture perceives Americans and the causes of their general behaviors. Similarly, the American staff, many of whom came from union backgrounds, have their own expectations for how they will work and be treated. There are moments of prejudice on both sides, but the companionships that form are touching. The Chinese team is away from home, without increased pay, in a foreign land and some of the American workers offer to introduce them to local pastimes. The cases of mutual appreciation and shared knowledge between the Chinese and American staff present a bright view of a global workforce and are the film’s warmest moments.

The bonds that overcome cultural differences are a joy to watch.

But the film doesn’t shy away from difficult truths about American manufacturing. While thousands of new jobs in the plant is an unquestionably wonderful boon to the city, the new jobs are not the same as their predecessors. One employee notes that she used to make $29 an hour at GM but now makes only $13 an hour. As a mother, she can no longer afford to buy immediate needs for her kids and has to budget extremely carefully to scrape by. Another worker laments that after losing her job at GM she has fallen out of middle class. The new jobs don’t offer the same pay or benefits and it leaves her trapped in a lower financial stratum.

As the management team continues to push for profitability, it also becomes clear that human workers in the US are not the future. Management notes that workers in China are able to produce more for less, so automation, using robotic arms to manipulate the product, is planned to replace many of the new jobs. It may sound callous, but a manager speaking to the chairman points to a section and states that the Americans are too slow so his goal is to replace workers with machines to improve profits.

Bognar and Reichert deserve enormous credit for the unjudgmental view they present. Cold capitalism, political rhetoric, and individual livelihoods are all treated with equal care. Their goal is show the realities, positive and negative, of foreign investment in US manufacturing and they do so with keen observations and empathy for all involved.

4/5 stars.

Honeyland (2019): A Tragic and Humble Life

In a rural area in North Macedonia, a woman, Hatidze, leads a simple life harvesting honey and living with her elderly mother. Her routine is disturbed when a family moves into one of the empty homes next door. Her previously quiet existence is eradicated by the many loud children and arguing mother and father. Directors Tamara Kotevska and Ljubomir Stefanov take this obscure topic and turn it into a emotional portrait of a woman’s life.

Honeyland is filmed in pure cinema verité. The camera is entirely observational, eschewing the talking heads that dominate most of modern documentary films. There are no sidebar interviews, no archival footage, and no narration to structure the film. Instead, the camera carefully watches as Hatidze’s life changes. The lack of artifice lends authenticity the film’s story. While there is a clear conflict driving the plot, it never feels contrived.

The film takes advantage of the beautiful Macedonian countryside. Hatidze lives far from any city and much of the screentime is her roaming the rocky hills as she gathers her honey. The filmmakers often shoot her in silhouette, like the lone hero of a western, as she goes on her walks. They make heavy use of the titular honey’s color palette. The color grading favors golden hues of sunlight and the glistening yellows of Hatidze’s crop.

Hatidze’s friendship with one of the boys is both sweet and sad in the truth it reveals.

Despite its limited scope, Honeyland touches on many issues. It’s unclear how the filmmakers arrived at Hatidze as subject for a documentary, but her life raises many questions. She is in her early fifties but lives only with her octogenarian mother who is mostly bedridden. There is untold history in every wrinkle in her skin and her mother’s withered hands. As she bonds with one particular neighbor boy who sees things from her perspective, he asks the unspoken question “Why do you live here?” She has no power, no running water, and little in the way of companionship outside of her mother and some pets. The answer, delivered by Hatidze and the film itself, is quietly heartbreaking. Not because of a calamitous event, but because of the banality of the sequence that led to her current life.

The film’s other theme is sustainability and capitalism. Hatidze is careful to harvest a limited quantity of honey from her hives, mitigating the damage to the colonies. She doesn’t need or want much to provide for her mom and herself, but her neighbors have a different approach. They bring in several crates to house new beehives, as opposed to Hatidze’s natural hives in rock formations, and are pressured by a local merchant to produce a large quantity, despite the potentially destructive effects to not only their bees but also to Hatidze’s. Unlike her, they have a large family and the father wants to provide for them. This too has a tragic element. It’s a microcosm of how the desires of modern life and the requirements of capitalism can favor short term gains at the expense of long term prospects.

Documentaries like this succeed or fail on their subjects and Hatidze’s story has more layers than could ever be expected. Her modest living, the impact of her new neighbors, and the filmmakers’ commitment to an unobtrusive vision make Honeyland a compelling look at a tragic and humble life.

4/5 stars.

Three Identical Strangers (2018): Triplet Troubles

This is another movie where your enjoyment will be improved the less you know about the plot. At a basic level, it is the miraculous story of three men who discover that they are identical triplets separated at birth. From then on the film examines their lives post-discovery and the unexpected background of their peculiar situation.

As topics for investigative journalism go, there are few stories out there that are as immediately sensational as someone learning they are a triplet and director Tim Wardle is able to capture the feeling of their discovery. Through overlapping editing where the brothers’ recollections of their first meeting finish each other’s sentences, we feel their experience. In their breathless speech, they communicate the bewildering, almost euphoric moment where the impossible is slowly becoming possible.

The triplets have the immediate, goofy camaraderie of lifelong friends.

The brothers (Eddy, Bobby, and David) prove to be charismatic subjects for the film. There’s a lot of pleasure to be had in noticing their similarities, despite being brought up in different household environments, and their differences, despite being identical triplets. More than anything its their instantaneous connection that is felt. An aunt talks about how they were rolling around with each other on the floor at their first meeting because they were already comfortable with each other. As Bobby says, “I opened the door…and there I was”. It’s heartwarming to see how readily they embrace their newfound siblings and easily integrate into each other’s lives.

After the initial surprise wears off, the next question becomes: how did this happen? None of the parents knew they were adopting a triplet and some claimed they would have gladly adopted all three had they known. This is were the film starts its unexpected turns. The transition to a darker tone happens naturally as the film becomes an exploration of morality and the debate of nature vs. nurture. Comparing the three families, one was more affluent, one was middle-class, and the other was blue-collar, each with distinct parenting styles. The film looks at the possible effects of each household and how they (potentially) changed the personalities of the triplets. Wardle is not interested in taking a definitive stance and instead lets each member of the families express their own thoughts, allowing viewers to formulate their own opinions. As both a retelling of an unbelievable true story and a thought piece, Three Identical Strangers presents an equally thrilling and provocative narrative.

4/5 stars.

Won’t You Be My Neighbor? (Sundance 2018): True Compassion

In retrospect, it’s hard to understand how Mister Rogers’ Neighborhood made it into a second season, much less 31. As the film notes, it has, on paper, the makings of a complete failure. The production values are cheap and incredibly plain, the pacing is deliberate, and there are no pratfalls or easy humor. Comparing it to a film like Minions shows how it goes against everything we expect from entertainment made for children. Yet, despite this, the show not only persisted but made an indelible cultural impact on generations of viewers.

Morgan Neville, the Oscar-winning documentary filmmaker behind 20 Feet from Stardom, wisely focuses on this impact rather the man himself. This isn’t a traditional biopic. It does include background on Rogers’ early life and his family, but Neville is more interested in the ideas behind the show. He covers how Rogers had clear goals with his content. He wanted to help children grow and deal with the issues they may be facing, to an almost radical degree. The film pulls footage from the earliest episodes in the late 60s and early 70s where he explicitly talks about topics ranging from assassination to Watergate – on a children’s show! It was his direct tackling of issues that allowed him to help children without ever talking down to them.

Mr. Rogers’ genuine kindness comes through every frame of the film.

The film also addresses several common questions related to Mr. Rogers. The most common of which is of course: “Is he really like that?” The answer is an unequivocal yes. Neville does his research and includes interviews from Rogers’ wife, children, and collaborators on the show all of whom attest that he was indeed the man he appeared to be on screen. The film disproves several ludicrous rumors about Rogers’ background, but also examines why these rumors even existed in the first place. The sad truth is that the questions about his background come from a place of disbelief. How can someone really be that kind? It’s a shame that our first instinct is to doubt someone rather than celebrate their virtues and Neville points out how Rogers’ consistent behavior and beliefs caused many, especially those closest to him, to reevaluate their lives.

Ultimately, the message behind Fred Rogers’ show can be found in the film’s original title. It was initially called It’s You I Like after a song frequently performed on the series. Neville shows that Rogers wanted children to believe in their own value and feel loved, regardless of where they came from, and used his show as an entryway into their homes. Through countless interviews and fan interactions, Neville reiterates how this message of self-worth changed the lives of so many. Children heard his words as if being spoken directly to them. In some of the film’s many emotional moments, adults who grew up with the show thank Rogers’ for the influence he had on their lives and his profound effect becomes apparent.

At the end of my screening, the director shared the one requirement given to him by Rogers’ widow, “Don’t make him a saint”. Neville carefully avoids this trap because it would lessen Rogers’ impact. Saints and their actions are beyond the realm of regular humans and portraying Rogers as such would have absolved us of our own responsibility. Instead, Neville aims and succeeds in showing that the legacy Rogers left behind and the central emotion behind his life’s work is one we all can and should strive for: true, human compassion for all those around us.

five stars

5/5 stars.

Robin Williams: Come Inside My Mind (Sundance 2018)

When news broke that Robin Williams had committed suicide in 2014, the world was shocked. How could a man that brought laughter into the lives of so many be depressed to the point of taking his own life? Given his fame and the global response to his passing, it was inevitable that someone would take a deeper look into his life and director Marina Zenovich (Roman Polanski: Wanted and Desired) and HBO Films have done just that. The documentary follows Williams from his childhood to his early comedy career to his dramatic roles later in life and features several interviews with loved ones as well as footage from many of his performances.

The excerpts from Williams’ career prove one thing: he was a comedic genius. Each of his colleagues talks about how electric his energy was and the clips show how he could extemporize and create new jokes at any moment. It’s a never-ending joy to watch him perform and a delight to see how hilarious he can be even off the stage and when not on camera. A great moment shows him heckling the crew for an interview for telling him that his hair is slightly tussled and exemplifies how quickly he could turn the slightest comment into a laugh out loud moment with seemingly no effort. The documentary does a solid job of showing his rise to fame and the performances that led to each step in his career.

The film shows how Williams could steal the spotlight in even his guest appearances.

Through the film’s many interviews, we get a better sense of who his closest friends were. The most touching of these are with his eldest son, Zak, and Billy Crystal. His son provides a glimpse into how Williams was around his family and the effect that needing to entertain the public had on his private relationships. Billy Crystal, to my surprise, appears to have been Williams’ best friend and had a long, loving friendship with him. Crystal, along with some very personal voicemails left by Williams, explore some of the isolation that Williams felt. The candid nature of both interviews and clear affections each individual had for Williams can at times make the film almost hard to watch. Both are still very much in pain as they talk about Williams, but their confessions provide the deepest insight into the comedian’s life.

The major failing of the film is that despite its overlong runtime it doesn’t explore much of Williams’ psyche. We can infer some of the pain he must have faced before his tragic passing and there is evidence that he had been dealing with depression his entire life, but we’re left wanting for a better understanding of his state of mind. What pain was he dealing with? Why did he feel so alone when there were clearly many that loved him? Films about comedians, whether fiction or documentaries, often reiterate that being a comedian can be excruciating with several secretly being depressed. With Williams’ potentially falling into this category, providing more detail into his thoughts would have helped explain this unfortunate trend. As it is, Come Inside My Mind, offers sufficient information about Williams’ rise to the upper echelons of comedy and plenty of hilarious clips but, ironically, doesn’t include the desired depth into his thoughts.

3/5 stars.

Michael Jackson’s Journey From Motown to Off the Wall (2016)

After detailing the production of the hit album Bad, Spike Lee (Chi-Raq) delves into Michael Jackson’s youth as he moved from the lead singer of the Jackson 5 to his solo work. Lee is clearly a fan and was a close friend of Jackson’s. He and his team have collected previously unseen concert and recording footage and interviewed several music industry professionals and celebrities to explore this section of Jackson’s life.

Michael Jackson’s music and performances are timeless. Whether as a beaming child or a suave young adult, Jackson always displays a vivacious charisma. His lanky body is a vessel for the rhythm of the music and he steals the show any time he is on screen dancing. Lee takes care to expose the intense practice that went into making his performances seem so effortless. As an interviewee states, black performers are often credited as having innate gifts rather than talent from hard work. Lee is clearly interested in dispelling any similar thoughts. Even at a young age, Jackson is shown to have a fierce desire to excel, spending time with established songwriters to learn their craft and practicing dance moves without end. His commitment and grit allowed him to improve from a child prodigy to one of the greatest performers of all time.

Jackson's music and energy are without equal and the interviews suffer in comparison.
Jackson’s music and energy are without equal and the interviews suffer in comparison.

The energy of the concert footage overshadows the interviews. While these sections are necessary to provide insight into the background behind the productions, they pale in comparison to the actual music. This is further exacerbated by Lee’s choice of interviewees. There are key players like the head of Motown Records and other important collaborators who knew Jackson and were a part of his creative process, but many seem unnecessary. Is Kobe Bryant, a basketball player, really needed? This applies to almost all the commentators that are contemporary. Jackson’s influence is obvious to anyone, especially to the audience who would watch a documentary about him, so having modern singers like The Weeknd praise his impact on music is redundant at best and irritating at worst. It seems as if Lee pulled in his celebrity network to offer their perspectives, but they only pad the runtime without adding depth to the conversation.

With so much other media available, the question of necessity has to be raised. Did we need another Michael Jackson documentary? Is it telling us anything new? The answer to both questions is not really. The film is of two minds. It is trying to exhibit unseen footage of Jackson’s concerts for hardcore fans as well as understand the man himself. Lee’s goal may have been to understand how Jackson progressed his career during this time period, but he loses sight of this in favor of heaping praise on his subject. Even the interviewees that would have the deepest knowledge of how the music was made focus on complimenting Jackson above all else. Their constant kudos is deserved but not value-added. The film proves that the best Michael Jackson film might just be selected recordings of his shows. Because of its divided scope, Lee’s documentary dampens the electrifying performances with earned, but superfluous adulation.

3/5 stars.

Voyage of Time: The IMAX Experience (2016)

[BS Note: There are two versions of Voyage of Time: a 40 minute documentary and a 90 minute feature length version. This review covers the former.]

Almost 40 years ago Terrence Malick had a dream. He wanted to make a movie that explored the origins of life. The movie, then tentatively titled Q, was going to be backed by Paramount until Malick left and went on his famous 20 year separation from Hollywood. Apparently, he never stopped working on the idea. Parts of the project were used in the origins sequence of The Tree of Life and since then an effects team has been at work on what is now Voyage of Time. Clearly intended for IMAX screens, Malick has created a documentary unlike any other.

His goals are less didactic than philosophical. Malick, who graduated with a degree in philosophy from Harvard, has never been interested in literal facts. Instead, he uses voiceovers by Brad Pitt to ponder the meaning of life. While existential quandaries are par for the course in anything Malick has done recently, the thoughts here are much more broad than usual. These are questions that apply to life in general rather than the particular experience of a character. Many will view this narration as pretentious and navel-gazing and they would be mostly correct. The opening epigraph addresses the audience with “Dear Child”, making the spiritual tone apparent from the beginning. There are moments of profundity scattered within the voiceovers, but they lack the impact they had in The Tree of Life. If anything, this film proves that Malick’s brand of exposition requires a human story. It grounds his thoughts and provides a context for the audience to connect with.

The special effects create the feeling of traveling through space.
The special effects create a palpable feeling of traveling through space.

Regardless of their varying quality, the voiceovers are largely forgotten. The visuals overwhelm and envelop all expository aspects of the film. The footage was shot with the format in mind and watching it on a 90 foot screen is nothing short of awe inspiring. The visuals swallow the audience whole. Combined with the sound effects, namely the rushing of water and classical music, they form a gestalt that renders any attempts at exposition inconsequential.

It’s unclear how much time and money was spent creating the special effects, but whatever the cost was the final product is worth it. The scenes depicting the formation of the universe and showing celestial bodies are particularly enthralling. They use chemicals, coloring agents, and models to create practical effects that are timeless. Seven years ago audiences were amazed by the visuals in Avatar, but computer generated models always show their age. Soon, the effects in Avatar will look dated but in another 50 years, the cosmic scenes here will still be stunning. The only complaint is that there are not enough of these universe creation scenes.

The film’s narrative is mostly empty. Pitt’s voiceovers aside, the only real story available is knowing that each scene moves forward in time. Some may not find this enough to carry a film, but at 40 minutes the lack of story is not an issue. After the creation sequence, Malick interweaves scenes of nature with footage of a young child playing in the grass asking the question (literally) “How did we get to who we are?” The question is never answered, but rather discussed. While coming to a Terrence Malick movie expecting anything to be explicit is a mistake, many will still find the lack of resolution, and therefore the film itself, pointless.  For those wiling to embrace Malick’s elliptical style, Voyage of Time presents the divine beauty of life with standard-setting visual effects.

4/5 stars.