When I was 16, I'd drive my parents' Volkswagen Beetle through the shimmering heat of the District of Columbia to M Street and the air-conditioned refuge of the Biograph Theater, where I'd see whatever was on offer: Godard, Bellocchio, Fellini...and Fred Wiseman's documentaries, like Law and Order and High School. But it wasn't until my 40s that I saw Hospital, set in the Metropolitan Hospital, a public facility in Harlem. Up near the front row at New York City's Film Forum, I experienced it as a near-religious work-from the opening shot of the patient, face invisible, arms spread as in a
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Natalia Almada was born in Sinaola, Mexico, to a Mexican father and an American mother, grew up in Chicago, and now maintains residences in both Brooklyn and Mexico City. It is this dual citizenship that best informs her work, that enables her to both transcend the mythical border between two nations and two cultures, and engage it with a deeper gaze--capturing the inherent dualities, nuances and grey areas, and infusing her inquiries into the predominant socioeconomic issues that define Mexican-American relations with an abiding sense of poetry and music. Almada received her master's degree
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There was a time, not long ago, when the thought of using material that could not be cleared was quickly banished from a documentarian's mind. Incidental capture of music and logos were feared by makers who found, after completing their films, that reputable outlets and distributors would not work with their films unless every possibly copyright-protected part of the movie was cleared, and no one understood the difference between copyright and trademarks. It was a seller's market, and copyright holders were wielding their power to extort exorbitant prices out of filmmakers who had none to
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