Amid the U.S. festival’s commercial wrappings, three docs from rising filmmakers plumb the depths of American inequity
Natchez
Suzannah Herbert’s Natchez is a multilayered, character-driven look at the titular town in Mississippi (U.S.), which is wholly dependent on a declining industry. In this case, the manufacturing is of whitewashed tales that have turned into hardened history. For generations, Natchez has been financially dependent on its antebellum tourism industry, in which hoop-skirted docents in grand mansions regale visitors with, as one knowing character puts it, a “Southern construct” that’s “used to sell tickets.” Just prior to the film’s Tribeca Documentary Competition premiere, Documentary caught up with Herbert (Wrestle) to learn all about her stellar sophomore feature. Last week, Tribeca announced that Natchez won not only the best documentary feature prize but also special jury awards for cinematography (to Noah Collier) and editing (Pablo Proenza).