June / 2010

Hot Docs
2010 Wrap

by Lance Carlson, Associate Member

Once again the HotDocs Canadian International Documentary Film Festival (Toronto, April 29 to May 9) offered a plethora of fine doc-watching (177 films, of which 30 were Canadian), and if there was a surprise it was that each film seemed to offer at least a few pleasant surprises. The fact that HD technology has improved and matured has contributed greatly to image quality in general; even those captured on HDV-style cameras, which have enabled and enlivened a lot of emerging filmmakers.

The two opening gala films are worthy of mention for completely different reasons. Babies has no script, no plot and no narration as well as no moving camera and no zooms. Even the director/cameraman Thomas Balmès admitted the assignment was a gift. It almost was a relief to hear that he had three kids of his own and obviously used his recollections to plan and execute the scenes. His static but very selective camera captured some delightful images of four little ones – in Namibia, San Francisco, Tokyo and rural Mongolia – from birth to about a year old, in a most charming portrait of babyhood that has universal appeal. As enjoyable as it was, I couldn’t help thinking that every parent or grandparent has seen this movie hundreds of times, but would, as I did, delight in seeing it in this thoroughly delightful exposé of how much kids are alike the world over.

The other gala film was thoroughly different and thoroughly Canadian. Rush: Beyond the Lighted Stage was not only a tribute to Canada’s enduring progressive-rock band, but a well-thought-out documentary about bandmates, Geddy, Alex and Neil. Even if you are not a fan, you can enjoy it for the perspective shown and honesty portrayed. Martin Hawkes, the cinematographer, lives in Norway, and responded from L.A. He relates that in spite of a plan to capture interviews with a wider lens to give presence, the reality was that he shot most of the interview material in condo common rooms or small hotel rooms. He had to roll with the punches most of the time. Much of the credibility of the film comes from some remarkable archival footage of Geddy and Alex as high school geeks. Neil Peart at one point took off on a two-year, 50,000-kilometre bike ride and was captured from a motorcycle with a camera sidecar in the mountains around Whistler, B.C., and in the desert near Ojay, California.

John Walker’s A Drummer’s Dream

It did seem to me that there were an inordinate number of films with music or musicians as prime subject or theme, including A Drummer’s Dream by John Walker csc. Seven of the world’s top percussionists assembled at a remote farm for a one week drum camp extraordinaire for 40 lucky students. It is a delightful film, and quite unlike the historical masterpiece Passage, which Walker last brought us. As much fun as this film is, it reeks of professionalism, planning and consistency. Walker’s crew (of shooters) was comprised of Kent Nason csc and Nigel Markham, both of whom have a history of working with him. The interiors were scoped and planned and the exterior backgrounds of wilderness blend seamlessly adding warmth and an upbeat spirit to the experience. Comments by Kent and Nigel were interesting, in that once the plan was decided on, logistics dealt with and lights placed, they proceeded to work with minimal or almost silent communication or direction. Now that’s professionalism! The warm friendly atmosphere was captured on F-950s with CU inserts of hands, instruments etc. matched in from a couple of HDV cameras. Even if you don’t like drums this is a thoroughly enjoyable experience.

Another musical offering/profile was The Socalled Movie, which is fascinating for its quirkiness of its subject, Josh Dolgin, a.k.a. Socalled, He combines klezmer, hip hop and funk among others; home movies of Dolgin as a youth, who clearly shows the energetic talent that he still exudes. I was able to chat briefly with DOP Marc Gadoury csc, in from Montreal for the screening. Locations for the film varied from basements, to rehearsal spaces to clubs, including the Apollo in Harlem, all beautifully captured. I asked Gadoury if he was able to work to any kind of plan and if there were any particular anecdotes that stood out. He related that the schedule and the unpredictable nature of the performers left him rolling with the punches much of the time and that every day working around Dolgin was a new and interesting anecdote. For a fun time watch The Socalled Movie on the NFB’s site, www.nfb.ca.

Garry Beitel’s A Socalled Movie

The NFB and Hot Docs this year included a showcase of the work of Egyptian-born Canadian filmmaker, Tahani Rashed, who worked at the Board for over 20 years, and in the past three years has returned to Egypt. Her films at the Board include Au Chic Resto Pop (a music public service documentary made in 1991 and screened here), Doctors with Heart, Emergency! A Critical Situation, Beirut! Not Enough Death to Go Around, These Girls (of Cairo) and her most recent film, Neighbors, shot in the upscale but fading opulence in the Garden City district of Cairo. Her films are fascinating for their classic treatment and obvious thorough research and revealing presentations. I was particularly impressed by Neighbors, which is beautifully captured by cinematographer Nancy Abdel-Fattah. I did ask the director about her DOP, and she was full of praise, not just for her ability to capture the elegance of the stately palaces but for her ability to put the people being interviewed at ease. The images are enhanced by the classic revealing of the stories in which the editor is allowed to let the shots play out without rushing to the next cut. It is a contemplative style that hearkens back to a more classic way of letting documentaries play out at an appropriate pace, something I for one really appreciate.

Thomas Balme’s Babies

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