In this interview on Under the Flags, the Sun, Paraguayan director Juanjo Pereira discusses completing his archival excavation of former President
Interview
In this interview on his collage film Holofiction, Michal Kosakowski discusses Holocaust cinema symbols in the present day
In this interview, Federico Cammarata and Filippo Foscarini discuss their migration-focused Waking Hours and their reasons for filming in darkness
In this expansive interview, Robb Moss discusses longitudinal personal filmmaking, his influence as a teacher, and The Bend in the River
In this interview, Kamal Aljafari discusses how three tapes filmed in 2001 revealed themselves as a new film, With Hasan in Gaza
In this interview, Iranian filmmaker Maryam Tafakory discusses how she abstracts and rewrites post-revolutionary Iranian cinema to reveal the queer
In this interview, Viktor Kossakovsky discusses leaving no stone unturned in Architecton
Revolutionary! Magical! Game-changing! These are some of the words being used to describe the results of AI-generated upscaling tools for archival and low-resolution footage. Some documentarians have turned to Video AI from Topaz Labs, a software featuring a suite of 30-plus AI models for video enhancement. To learn more about Video AI and the future of AI-assisted video upscaling, Documentary interviewed the Topaz CEO and Co-founder Eric Yang.
In Tatyana Tenenbaum's Everything You Have Is Yours, we see dancer Hadar Ahuvia as she develops her performance by the same name, the culmination of years spent celebrating her own Jewish identity while also challenging Israeli tradition. After its theatrical run in NY, Documentary spoke to Tenenbaum about adapting her work in dance documentation to documentary, dance film tropes, and political activism in a nonverbal art form.
For her immersive artwork Burn From Absence, artist Emeline Courcier creates an archive where there was none. Using artificial intelligence, she recreates a family album, visualizing and verifying a history that has been hidden, documenting it from her perspective. In the four-channel installation, digitally created images illustrate an audio track layering her family members’ memories of life in Laos, the ‘Vietnam’ war, and new beginnings in France. After its premiere at IDFA last November, where it won the DocLab Special Mention for Digital Storytelling, Documentary spoke to Courcier about truth, archives, and working with deeply personal material.