Brazilian musician Tom Zé, subject of Décio Matos Júnior's Fabricando Tom Zé. Courtesy of Festival do Rio Brazilians are accustomed to reading rather than watching cinema, something any Brazilian planning a night at the movies would acknowledge. In 2004, foreign releases in Brazil represented 88 percent of the domestic film market, which is divvied up among companies with familiar yet foreign names like Sony, Warner and Fox. Over the past two years, nine of the ten highest grossing films in Brazil were produced and distributed by Hollywood. Despite the popular and critical success of local
Latest Posts
Tickets on sale now. Discounts available for IDA Members.
'Secrets of the Tribe' airs March 2 on HBO.
Major figure in Arab cinema challenged Syrian rule in his work.
Assignment: Write an article on whether or not documentary filmmakers should pay their subjects. Dilemma: What's to discuss? Conventional wisdom in journalism says don't pay. Never. Ever. Veteran docmaker Jon Else, also the director of the documentary program at University of California at Berkeley's Graduate School of Journalism, maintains, "Paying people to talk to you poisons what they tell you. Would you trust a New York Times article if you knew the reporter had paid the subject to talk?" Paying compromises the subjects, and colors their intentions-so the thinking goes. Subjects may end
I have attended the Sundance Film Festival since the late 1990s, but this year marked my first time as a first halfer. The salient differences between the first and second halfs? More people, more parties, splashier premieres, fewer doc-specific panels, longer waits, more e-mails. And the thrill of discovery may have been more palpable with the launch of the 2011 edition. First, The Parties, and the highest wattage one was the OWN party, which IDA and Sundance Institute co-presented. Bold names abounded at the Sundance House/Kimball Art Center: Fenton Bailey and Randy Barbato were there with