For the Love of Non-Fiction Film: Full Frame Fetes Documentary in a Full Four Days

A scene from Anders Ostergaard's "Burma VJ." Image courtesy of Full Frame.

Downtown Durham, NC, played host once again to the Full Frame Documentary Film Festival on April 2-5, bringing four days packed with non-fiction programming to an enthusiastic audience of locals and visiting filmmakers and industry. Despite the loss of high-profile sponsor The New York Times only about a month before the fest’s launch, the 12th edition of the highly-respected documentary event evidenced smooth operations, capacity screenings, and an estimated increase in ticket sales.

Eschewing a concern with premieres, included in the festival’s excellent selections this year were a number of recent standouts from Sundance (“The Cove,” “The September Issue,” “We Live in Public,” “Art & Copy”), SXSW (“45365,” “Objectified,” “The Way We Get By”), IDFA (“Rough Aunties,” “Burma VJ,” “Love on Delivery”), and Toronto (“Unmistaken Child,” “Youssou Ndour,” “Food Inc”) showcasing some of the best in recent non-fiction film to sate the voracious appetite of their audience, composed of the diverse mix of ages, gender, and race typical of the affluent Raleigh-Durham Triangle region and its high concentration of educational institutions and industrial research parks. Addressing this audience in her opening night remarks, Executive Director Peg Palmer reflected on the history of the festival founded by her friend, Nancy Buirski, who stepped down before last year’s event, and commented on Durham’s appropriateness as Full Frame’s headquarters: “We have a history of art and storytelling of all types in the Triangle - it’s a strong Southern tradition. Durham enjoys diversity - we welcome, embrace, and encourage it in our films.” Palmer went on to say, despite changes in sponsorship, that “a superlative international documentary festival makes sense in trying economic times, and we will survive these times.” Echoing these sentiments, newly instated Director of Programming Sadie Tillery reminded us that Full Frame “strips all else away to concentrate on films, filmmakers, and filmgoers,” noting that “there is no better way to honor these films than for thousands of people to experience these works over a single weekend.”

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In addition to showcasing new work, Tillery noted the festival’s special programming this year, which included a posthumous Career Award to St Clair Bourne (who passed away in December 2007), with an accompanying series of Bourne’s films curated by filmmaker Sam Pollard. Steve James was also present throughout the weekend introducing a wide array of films that he curated about the intersection of documentary and sports, including among others, “The Red Race,” a gripping behind-the-scenes exploration of how China turns grammar-school-aged children into Olympic gymnasts; Barbara Kopple’s 1993 Tyson portrait, “Fallen Champ;” George Butler’s work-in-progress, “The Good Fight;” and even, unusual for a documentary festival, but appropriate, three fiction films based on true stories: Lindsay Anderson’s “This Sporting Life;” “Paper Lion,” based on George Plimpton’s book; and “Slap Shot.” James’ landmark “Hoop Dreams” was also presented as a special 15th anniversary free screening and panel. Full Frame’s opening night film, the world premiere of Andrew Lang’s “Sons of Cuba,” also fit James’ sports theme, presenting an unprecedented and intimate look at the rigorous training of three aspiring 12-year old pugilists in the Havana Boxing Academy. Sporting knockout editing and cinematography, and perfectly-selected subjects, Lang’s film provides a child’s-eye-view on patriotism, personal sacrifice, masculinity, and family bonds with poignancy and moments of humor. Following the enthusiastically received screening, Steve James moderated a discussion with Lang and members of the production which hit on all of these themes.   (1 of 3)  Next Page › posted on April 6, 2009 |Share