Visits to cinema showcases around the world
While the selection includes both fiction and nonfiction films, the slant toward documentaries is pronounced: this year, out of the 15 films presented in the international competition, the vast majority were documentaries or fiction/nonfiction hybrids.
Many of the more recognizable auteurs figured late in the festival’s schedule, and seeing a number of these established filmmakers in successive days hit their expected marks proved rather instructive in such a condensed timeframe. Includes Mimosas, The Death of Louis XIV, Personal Shopper, Elle.
The camera is weapon and savior, mediator and patient observer, but it is never objective in Cameraperson, an extraordinary and singular filmmaking document by Kirsten Johnson that quietly lorded over everything I saw at the 2016 Sundance Film Festival.
What started in 1994 as a two-day, modestly attended, parochially English affair has, in the decades following, tripled in length, welcomes more than ten times the number of visitors, and is now a tent-pole event on the international documentary industry calendar.
Kashish has grown into south Asia’s biggest queer film festival, was voted as one of the top five LGBT festivals in the world, and is today India’s only LGBT film festival given official permission to be held in a mainstream cinema hall.
With no less than four non-American directors making their English-language debuts in competition at the 2015 Cannes Film Festival, the strain from the unfortunate state of worldwide film funding has been felt more than ever at this year’s festival.
Film festival programming isn’t, and frankly should never be, an exact science.