Here are some of my favorite offerings from the Sundance 2014 slate of documentaries.
Dinosaur 13
Director Todd Miller’s Dinosaur 13 chronicles an ownership dispute millions of years in the making. After discovering the most intact Tyrannosaurus Rex skeleton to date, Peter Larson and his team of paleontologists take the dinosaur back to their hometown institute to restore and rebuild it. They hope doing so will bring tourism and academia to the impoverished town of Hill City, but their task is fraught with complications as several entities, including native tribes and the U.S. government, claim proprietary rights on Sue, the dinosaur.
Interviews are told passionately and grasp the frustrating nature of the legal dispute, which is a great feat considering the subjects are being interviewed decades after the incident. Although well-organized and filled with interesting content, the film occasionally loses momentum. The constant fades to black and numerous titles, meant to give the narrative a dramatic pause, are often distracting. Regardless, the film is thought-provoking and a worthy chronicle of an important act of preservation.
To Be Takei
It’s okay to be Takei and it’s okay to love his movie! To Be Takei is a biographical documentary about charismatic actor George Takei (best known as Sulu on the original Star Trek television series) that reveals a portrait of a man who is a social activist, a statesman, a husband, and an entertainer. The film follows his life from his time in Japanese internment camps through his struggle with coming out and the creation of his musical Allegiance.
Well-shot and organized, Jennifer Kroot and Bill Weber’s documentary yields an upbeat view on a tumultuous life. Upholding the light-hearted tone, designer Grant Nellessen creates fun animated sequences for the documentary. The film mimics the vibe of the actor in that it is able to address real issues candidly.
Featuring interviews with William Shatner, Leonard Nimoy, Nichelle Nichols, Walter Koenig, Dan Savage, and Howard Stern, the film showcases Takei’s outreach efforts in various aspects of public life. The story is left open-ended, as Takei shows little signs of slowing down even at 76 years old due to his growing presence in social media. The film is nothing short of an endearing fan letter to Takei, not just as a celebrity, but as a perpetually optimistic person.
Fed Up
Produced by news anchor Katie Couric and directed by award-winner Stephanie Soechtig, Fed Up responds to the child obesity epidemic in the U.S. The film’s opening is akin to B-roll footage from a zombie apocalypse blockbuster, a metaphor that fits well with its presentation of the problems as an outbreak of a preventable disease. Its primary thesis is that sugars, not fat calories, are the hidden evil in the U.S. food industry, and it’s the government’s job to limit exposure to sugary foods and better educate Americans on the real dangers of chronically exceeding the daily sugar allowance.
Refreshingly, Fed Up does not just alert viewers to a problem. The filmmakers also contribute a plan of attack against the food industry by comparing it to the tobacco industry. They project that levying the same laws against the food industry will allow Americans to make more informed dietary decisions. The film is a great expose on food industry corruption and its special interest funding of medical data. Fed Up’s use of integrated graphic animations on gastric processes make it a great film to show kids and better educate them on physical health while also beseeching parents to effect legislation that keeps processed food vendors from preying on their children.
Life Itself
Director Steve James’ Life Itself conveys the personal and public life of film critic Roger Ebert, evoking a beautiful sentimentality that left viewers at my screening laughing, weeping and inspired—an appropriate tribute given that Ebert once said movies are empathy machines.
As all documentaries must, this film chooses a side of truth to tell. Glossing over his troubling past with alcoholism and personal relationships, the film illustrates Roger Ebert as a champion of film and culture, trying to petition for more challenging art in the mainstream. The film had the distinct advantage that Ebert was still alive for the filming but knew that he would not be alive for the premiere. Although very sad, this allowed for an honesty straight from the subject of the documentary. The audience is privy to secrets, such as Ebert’s desire to not be resuscitated, which he reveals before his wife Chaz knows within the timeline of the film. Moments like this are heartbreaking and generate an enormous amount of empathy for the loved survivors of Ebert. James uses the camera in the notion of caméra-stylo, in essence, writing a eulogy to a respected friend, insisting on the truth yet remembering a happy version of a beloved man.
