Each week we highlight the noteworthy titles that have recently hit streaming platforms in the United States. Check out this week’s selections below and past round-ups here.
The Banshees of Inisherin (Martin McDonagh)
Martin McDonagh’s fourth film marks an In Bruges reunion between the writer-director, Farrell, and Brendan Gleeson. It again finds the two leads as another mismatched, in-a-rut couple of men serving up heaping portions of existential despair and black comedy. But this rut is of a very different ilk—much smaller in scope, lacking villainy, almost cute… until it isn’t. Banshees is McDonagh’s A Straight Story, but he doesn’t go full monty. He works in a few comically violent McDonagh beats that rip us out of the ordinary. But it’s the permeating sense of normality, routine, and unremarkableness that gives them their punch. To note the simplicity, he opens on a white...
The Banshees of Inisherin (Martin McDonagh)
Martin McDonagh’s fourth film marks an In Bruges reunion between the writer-director, Farrell, and Brendan Gleeson. It again finds the two leads as another mismatched, in-a-rut couple of men serving up heaping portions of existential despair and black comedy. But this rut is of a very different ilk—much smaller in scope, lacking villainy, almost cute… until it isn’t. Banshees is McDonagh’s A Straight Story, but he doesn’t go full monty. He works in a few comically violent McDonagh beats that rip us out of the ordinary. But it’s the permeating sense of normality, routine, and unremarkableness that gives them their punch. To note the simplicity, he opens on a white...
- 12/16/2022
- by Jordan Raup
- The Film Stage
Holidays loom, but don’t fear TBS marathons of A Christmas Story. If, like me, you once enacted some good and let studio classics stream on Criterion during family Christmas, you know the trip home will be easier with December’s additions. (People at Criterion: please don’t report me for logging into multiple devices.) As family arrives, drinks are downed, and questions about what you’ve been up to are stumbled through it’ll be nice to stream their “Screwball Comedy Classics” series—25 titles meeting some deep cuts (10 via Venmo if you’ve recently watched It Happens Every Spring).
Personally I’m most excited about the 11 movies in “Snow Westerns,” going as far back as The Secret of Convict Lake, as recently as Ravenous, with the likes of Wellman, Peckinpah, and Corbucci in-between. I personally cannot stand soccer but I appreciate the World Cup giving occasion for a series...
Personally I’m most excited about the 11 movies in “Snow Westerns,” going as far back as The Secret of Convict Lake, as recently as Ravenous, with the likes of Wellman, Peckinpah, and Corbucci in-between. I personally cannot stand soccer but I appreciate the World Cup giving occasion for a series...
- 11/22/2022
- by Nick Newman
- The Film Stage
This review of “Cane Fire” was first published May 20, 2022.
Several years in the making, the documentary “Cane Fire,” from longtime editor turned director Anthony Banua-Simon, sees the light of day as native Hawaiians on social media platforms are urging the public at large to stop traveling to the state at a time when resources of all kinds, from water to housing, have become alarmingly scarce or impossibly unaffordable for the working-class locals, particularly the indigenous Hawaiian population.
An indispensable watch, Banua-Simon’s first feature focuses on the island of Kauaʻi and the history of its exploitation as a colony, which endures under the guise of statehood. First desired for its fertile soil (for sugar cane and pineapple plantations that employed underpaid and overworked migrants from Asia), the island later became a sought-after Hollywood location and, eventually, a paradisiacal tourist playground for the rich.
To unspool the painful past of this...
Several years in the making, the documentary “Cane Fire,” from longtime editor turned director Anthony Banua-Simon, sees the light of day as native Hawaiians on social media platforms are urging the public at large to stop traveling to the state at a time when resources of all kinds, from water to housing, have become alarmingly scarce or impossibly unaffordable for the working-class locals, particularly the indigenous Hawaiian population.
An indispensable watch, Banua-Simon’s first feature focuses on the island of Kauaʻi and the history of its exploitation as a colony, which endures under the guise of statehood. First desired for its fertile soil (for sugar cane and pineapple plantations that employed underpaid and overworked migrants from Asia), the island later became a sought-after Hollywood location and, eventually, a paradisiacal tourist playground for the rich.
To unspool the painful past of this...
- 6/2/2022
- by Carlos Aguilar
- The Wrap
Anthony Banua-Simon’s nonfiction feature debut, Cane Fire, is a personal family history, historical explainer of sugar production, ode to union organizing and expose of a Hawaiian island’s mistreatment of its native people. Each of these elements are connected. Focusing on the island of Kaua’i, one of the most photographed areas of land in countless Hollywood productions, Cane Fire derives its title from a (now lost) 1934 film directed by Lois Weber, in which Banua-Simon’s great-grandfather was an extra. Banua-Simon uses this personal trivia as a way to dive into the egregious ways the island (and its people) have been depicted […]
The post Hawaiian History and Hypergentrification: Anthony Banua-Simon on Cane Fire first appeared on Filmmaker Magazine.
The post Hawaiian History and Hypergentrification: Anthony Banua-Simon on Cane Fire first appeared on Filmmaker Magazine.
- 5/24/2022
- by Erik Luers
- Filmmaker Magazine-Director Interviews
Anthony Banua-Simon’s nonfiction feature debut, Cane Fire, is a personal family history, historical explainer of sugar production, ode to union organizing and expose of a Hawaiian island’s mistreatment of its native people. Each of these elements are connected. Focusing on the island of Kaua’i, one of the most photographed areas of land in countless Hollywood productions, Cane Fire derives its title from a (now lost) 1934 film directed by Lois Weber, in which Banua-Simon’s great-grandfather was an extra. Banua-Simon uses this personal trivia as a way to dive into the egregious ways the island (and its people) have been depicted […]
The post Hawaiian History and Hypergentrification: Anthony Banua-Simon on Cane Fire first appeared on Filmmaker Magazine.
The post Hawaiian History and Hypergentrification: Anthony Banua-Simon on Cane Fire first appeared on Filmmaker Magazine.
- 5/24/2022
- by Erik Luers
- Filmmaker Magazine - Blog
“I have very little to say except that I think it very charming and kind of you all to give us your Sunday night,” said a disarming Julian Fellowes at the NYC premiere of Downton Abbey: A New Era last Sunday. Distributor Focus Features – and the broader industry — hopes audiences will give the film many more Sunday nights, and other days and dayparts, jumpstarting the return to theaters of older demos.
Downton opens this weekend on over 3,800 screens, not a specialty release but leading here as a bellwether for that elusive audience, a staple of arthouses, that had raised hopes briefly by turning out for No Die To Die last fall. Lingering Covid jitters or an entrenched streaming habit have kept the 45-plus crowd sparse in cinemas even as they flock to restaurants and other public activities. The hope is that the Downton franchise will prove beloved as Bond, as enduring as Spider-Man,...
Downton opens this weekend on over 3,800 screens, not a specialty release but leading here as a bellwether for that elusive audience, a staple of arthouses, that had raised hopes briefly by turning out for No Die To Die last fall. Lingering Covid jitters or an entrenched streaming habit have kept the 45-plus crowd sparse in cinemas even as they flock to restaurants and other public activities. The hope is that the Downton franchise will prove beloved as Bond, as enduring as Spider-Man,...
- 5/20/2022
- by Jill Goldsmith
- Deadline Film + TV
Ke’ala Lopez and Kamu “Charles” Hepa leading a Hawaiian chant before a sacred burial site in the Wailua Valley. Anthony Banua-Simon: 'I wanted to, with the film, kind of create this energy that would go in the right directions to people who are more focused in the community and doing really selfless work organising, both on the sovereignty side and independent side' Photo: Cinema Guild Anthony Banua-Simon's Cane Fire approaches the history of the Hawaiian island of Kaua'i with the help of the personal perspective of his own family history – as though the documentarian grew up in Seattle, his great-grandfather was a Filipino émigré to the island, where he worked on its plantations.
Banua-Simon says his great-uncle Henry was important to the project. “He’d been through so many stages in his life, and the history of the island, that he is kind of reflecting what was important to him.
Banua-Simon says his great-uncle Henry was important to the project. “He’d been through so many stages in his life, and the history of the island, that he is kind of reflecting what was important to him.
- 5/20/2022
- by Amber Wilkinson
- eyeforfilm.co.uk
By Glenn Dunks
A history of exploitation unfurls in Anthony Banua-Simon’s Cane Fire like the plot of a Hollywood movie. A deeply empathetic documentary, Cane Fire takes its title from a Lois Weber film, White Heat. That film, Weber’s last from 1934, is considered lost and survives only in images and fragments. As Banua-Simon shows, that is a lot like the non-white population of the island of Kaua’i, where it was filmed, who have been worked until their backs were broken by a series of industries that have crushed and sapped the non-white population like you would strip bare sugar cane.
First it was sugar cane and pineapples, then Hollywood who used locals as extras in bright and colourful productions starring big names like Elvis Presley and John Wayne. Today it’s tourism—an industry that has caused Hawaii more broadly to become the most expensive state to live in,...
A history of exploitation unfurls in Anthony Banua-Simon’s Cane Fire like the plot of a Hollywood movie. A deeply empathetic documentary, Cane Fire takes its title from a Lois Weber film, White Heat. That film, Weber’s last from 1934, is considered lost and survives only in images and fragments. As Banua-Simon shows, that is a lot like the non-white population of the island of Kaua’i, where it was filmed, who have been worked until their backs were broken by a series of industries that have crushed and sapped the non-white population like you would strip bare sugar cane.
First it was sugar cane and pineapples, then Hollywood who used locals as extras in bright and colourful productions starring big names like Elvis Presley and John Wayne. Today it’s tourism—an industry that has caused Hawaii more broadly to become the most expensive state to live in,...
- 5/18/2022
- by Glenn Dunks
- FilmExperience
While director Anthony Banua-Simon uses the revelation as a sort of “gotcha” moment to end his documentary Cane Fire, hearing Kauai-native Larry Rivera—an entertainer who performed at the Coco Palms before it was destroyed in a hurricane, who rubbed elbows with the likes of Elvis Presley and Bing Crosby—admit the only “Hawaiian legends” he knows are the ones his former boss Grace Guslander fabricated to awe tourists isn’t really a surprise. He and co-writer Michael Vass set the table for that truth too well throughout their deep dive into the island’s colonial legacy, separating allies from exploiters and ancestors from opportunists. That doesn’t make Rivera a villain. It simply shows the insidiousness of the systematic destruction and appropriation of Hawaiian culture and land.
We’re transported back to the origins of the Hawaii we know as the 50th state of America. Captain Cook arrives, white plantation owners follow,...
We’re transported back to the origins of the Hawaii we know as the 50th state of America. Captain Cook arrives, white plantation owners follow,...
- 5/17/2022
- by Jared Mobarak
- The Film Stage
While our recently published summer movie preview was a fairly comprehensive look at what we’re most anticipating over the next few months, some surprises still await. Case in point: the release date of our #1 pick to see this month was only unveiled a few days ago. Featuring long-awaited festival favorites, genre delights, medium-length work, and even—yes!—a blockbuster, check out our picks below.
13. Men (Alex Garland; May 20 in theaters)
Alex Garland’s Men is a curious creation, oddly misshapen and thematically simplistic, yet this contained psychological horror-thriller has a go-for-broke finale worth the price of admission simply for the confounding glances one will have with fellow moviegoers exiting the theater. Telling the story of Jessie Buckley’s character as she contends with recent trauma and the various shades of misogynistic demons that intend to interrupt her healing, the build-up is an impressive tightrope walk of horror and humor...
13. Men (Alex Garland; May 20 in theaters)
Alex Garland’s Men is a curious creation, oddly misshapen and thematically simplistic, yet this contained psychological horror-thriller has a go-for-broke finale worth the price of admission simply for the confounding glances one will have with fellow moviegoers exiting the theater. Telling the story of Jessie Buckley’s character as she contends with recent trauma and the various shades of misogynistic demons that intend to interrupt her healing, the build-up is an impressive tightrope walk of horror and humor...
- 5/3/2022
- by Jordan Raup
- The Film Stage
Cinema Guild has acquired U.S. distribution rights to Juan Pablo González’s fiction feature debut Dos Estaciones, which won a special jury award for lead actor Teresa Sánchez’s performance when it premiered at the 2022 Sundance Film Festival.
The drama follows 50-year-old businesswoman María García (Sánchez), who owns Dos Estaciones—a once-majestic tequila factory now struggling to stay afloat. The factory is the final hold-over from generations of Mexican-owned tequila plants in the highlands of Jalisco, the rest having folded into foreign corporations. Once one of the wealthiest people in town, María knows her current financial situation is untenable. When a persistent plague and an unexpected flood cause irreversible damage, she is forced to do everything she can to save her community’s primary economy and source of pride.
Dos Estaciones was also an official selection of the True/False Film Festival, where González was honored with the True Vision Award,...
The drama follows 50-year-old businesswoman María García (Sánchez), who owns Dos Estaciones—a once-majestic tequila factory now struggling to stay afloat. The factory is the final hold-over from generations of Mexican-owned tequila plants in the highlands of Jalisco, the rest having folded into foreign corporations. Once one of the wealthiest people in town, María knows her current financial situation is untenable. When a persistent plague and an unexpected flood cause irreversible damage, she is forced to do everything she can to save her community’s primary economy and source of pride.
Dos Estaciones was also an official selection of the True/False Film Festival, where González was honored with the True Vision Award,...
- 4/19/2022
- by Matt Grobar
- Deadline Film + TV
Juan Pablo González’s feature debut earned lead actor Teresa Sánchez special jury prize in January.
Cinema Guild has picked up all US rights to Juan Pablo González’s Sundance selection Dos Estaciones, which earned a special jury award for lead actor Teresa Sánchez’s performance earlier this year.
The feature directorial debut will screen in New Directors/New Films later this month and was also an official selection of True/False Film Festival, where González earned the True Vision Award.
Dos Estaciones follows 50-year-old businesswoman María García, the owner of the eponymous, Mexican-owned tequila factory with an illustrious past...
Cinema Guild has picked up all US rights to Juan Pablo González’s Sundance selection Dos Estaciones, which earned a special jury award for lead actor Teresa Sánchez’s performance earlier this year.
The feature directorial debut will screen in New Directors/New Films later this month and was also an official selection of True/False Film Festival, where González earned the True Vision Award.
Dos Estaciones follows 50-year-old businesswoman María García, the owner of the eponymous, Mexican-owned tequila factory with an illustrious past...
- 4/19/2022
- ScreenDaily
Cinema Guild has acquired U.S. rights to Cane Fire, an award-winning documentary from director Anthony Banua-Simon, with plans to release it in theaters across the U.S., beginning with a New York theatrical premiere at the Brooklyn Academy of Music on May 20.
The filmmaker’s deal with Cinema Guild also encompassed his short films Third Shift and Pure Flix and Chill: The David A.R. White Story, which will be released on the educational market.
Cane Fire examines the past and present of the Hawaiian island of Kaua’i, interweaving four generations of family history with accounts of numerous Hollywood productions shot there, along with troves of found footage to create a kaleidoscopic portrait of the economic and cultural forces that have cast indigenous and working-class residents as “extras” in their own story.
The film premiered at Hot Docs in 2020, subsequently going on to screen at the Indie Memphis Film Festival,...
The filmmaker’s deal with Cinema Guild also encompassed his short films Third Shift and Pure Flix and Chill: The David A.R. White Story, which will be released on the educational market.
Cane Fire examines the past and present of the Hawaiian island of Kaua’i, interweaving four generations of family history with accounts of numerous Hollywood productions shot there, along with troves of found footage to create a kaleidoscopic portrait of the economic and cultural forces that have cast indigenous and working-class residents as “extras” in their own story.
The film premiered at Hot Docs in 2020, subsequently going on to screen at the Indie Memphis Film Festival,...
- 2/7/2022
- by Matt Grobar
- Deadline Film + TV
As 2021 mercifully winds down, the Criterion Channel have a (November) lineup that marks one of their most diverse selections in some time—films by the new masters Ryusuke Hamaguchi and Garrett Bradley, Dan Sallitt’s Fourteen (one of 2020’s best films) couched in a fantastic retrospective, and Criterion editions of old favorites.
Fourteen is featured in “Between Us Girls: Bonds Between Women,” which also includes Céline and Julie, The Virgin Suicides, and Yvonne Rainer’s Privilege. Of equal note are Criterion editions for Ghost World, Night of the Hunter, and (just in time for del Toro’s spin) Nightmare Alley—all stacked releases in their own right.
See the full list of October titles below and more on the Criterion Channel.
300 Nassau, Marina Lameiro, 2015
5 Card Stud, Henry Hathaway, 1968
Alone, Garrett Bradley, 2017
Álvaro, Daniel Wilson, Elizabeth Warren, Alexandra Lazarowich, and Chloe Zimmerman, 2015
America, Garrett Bradley, 2019
Angel Face, Otto Preminger, 1953
Angels Wear White,...
Fourteen is featured in “Between Us Girls: Bonds Between Women,” which also includes Céline and Julie, The Virgin Suicides, and Yvonne Rainer’s Privilege. Of equal note are Criterion editions for Ghost World, Night of the Hunter, and (just in time for del Toro’s spin) Nightmare Alley—all stacked releases in their own right.
See the full list of October titles below and more on the Criterion Channel.
300 Nassau, Marina Lameiro, 2015
5 Card Stud, Henry Hathaway, 1968
Alone, Garrett Bradley, 2017
Álvaro, Daniel Wilson, Elizabeth Warren, Alexandra Lazarowich, and Chloe Zimmerman, 2015
America, Garrett Bradley, 2019
Angel Face, Otto Preminger, 1953
Angels Wear White,...
- 10/25/2021
- by Leonard Pearce
- The Film Stage
“Cane Fire”, the feature documentary debut by Anthony Banua-Simon, explores the history of oppression on the Hawaiian island of Kauai. The film won the Best Feature Documentary award at the 2020 Indie Memphis Festival.
Cane Fire is screening at the San Diego Asian Film Festival
Trying to find a copy of “White Heat”, also known as “Cane Fire”, the first American movie shot on the Hawaiian island of Kauai, a “talkie”, Anthony Banua-Simon’s great grandfather appears as an extra leads the director to reconnect with members of his family who are still living on the island his grandfather has once lived. With his great uncle and his grandsons as guides, his search for the movie about a plantation worker’s revolt and his ancestors becomes one of discovery about the oppression and abuse that have continued in one shape or form on the island for hundreds of years. Though the...
Cane Fire is screening at the San Diego Asian Film Festival
Trying to find a copy of “White Heat”, also known as “Cane Fire”, the first American movie shot on the Hawaiian island of Kauai, a “talkie”, Anthony Banua-Simon’s great grandfather appears as an extra leads the director to reconnect with members of his family who are still living on the island his grandfather has once lived. With his great uncle and his grandsons as guides, his search for the movie about a plantation worker’s revolt and his ancestors becomes one of discovery about the oppression and abuse that have continued in one shape or form on the island for hundreds of years. Though the...
- 4/26/2021
- by Martin Lukanov
- AsianMoviePulse
Fresh off Sundance and a series of compelling interviews about how she chronicled the Covid-19 outbreak in China and its rampage across the the U.S., Nanfu Wang’s In the Same Breath will have its New York premiere as the opening film in the Museum of Modern Art’s Doc Fortnight 2021.
The twenty-year old fest will be virtual, running from March 18 to April 5, with 18 documentary features, short films and special projects. Two films are world premieres and several are North American premieres, including the closing selection, Julien Faraut’s Les sorcières de l’Orient (Oriental Witches), the account of a historic Japanese women’s volleyball team and its meteoric ascent to the Tokyo Olympics in 1964.
The lineup includes Hong Kong Documentary Filmmakers’ Inside the Brick Wall; Mohamed Soueid’s The Insomnia of a Serial Dreamer; Rosine Mbakam’s Delphine’s Prayers; Anthony Banua-Simon’s Cane Fire; Ali Essafi’s...
The twenty-year old fest will be virtual, running from March 18 to April 5, with 18 documentary features, short films and special projects. Two films are world premieres and several are North American premieres, including the closing selection, Julien Faraut’s Les sorcières de l’Orient (Oriental Witches), the account of a historic Japanese women’s volleyball team and its meteoric ascent to the Tokyo Olympics in 1964.
The lineup includes Hong Kong Documentary Filmmakers’ Inside the Brick Wall; Mohamed Soueid’s The Insomnia of a Serial Dreamer; Rosine Mbakam’s Delphine’s Prayers; Anthony Banua-Simon’s Cane Fire; Ali Essafi’s...
- 2/22/2021
- by Jill Goldsmith
- Deadline Film + TV
The Museum of Modern Art has unveiled the festival lineup for Doc Fortnight 2021, the 20th edition of its annual showcase of nonfiction films from around the globe. Over 18 documentary features and four short films will be screened as part of the festival.
In a concession to the coronavirus pandemic, this year’s films will be offered exclusively on MoMA’s Virtual Cinema from March 18 to April 5, 2021. The festival boasts two world premieres and numerous North American debuts. Doc Fortnight 2021 will kick off with the New York premiere of Nanfu Wang’s “In the Same Breath,” a look at the origins and spread of Covid-19, charting its early days in Wuhan, China to its deadly rampage through the United States. The festival is truly global in scope including filmmakers from Lebanon, Cameroon, Brazil and Morocco, among many other countries.
The closing night film is “Les sorcières de l’Orient (Oriental Witches...
In a concession to the coronavirus pandemic, this year’s films will be offered exclusively on MoMA’s Virtual Cinema from March 18 to April 5, 2021. The festival boasts two world premieres and numerous North American debuts. Doc Fortnight 2021 will kick off with the New York premiere of Nanfu Wang’s “In the Same Breath,” a look at the origins and spread of Covid-19, charting its early days in Wuhan, China to its deadly rampage through the United States. The festival is truly global in scope including filmmakers from Lebanon, Cameroon, Brazil and Morocco, among many other countries.
The closing night film is “Les sorcières de l’Orient (Oriental Witches...
- 2/22/2021
- by Brent Lang
- Variety Film + TV
Exclusive: The Hawai‘i International Film Festival (Hiff) has unveiled its lineup for its 40th anniversary of the festival which will be a hybrid of in-person and virtual screenings. This marks the fiest time that Hiff will be accessible to audiences across the nation. The fest will focus on Hawai‘i-made films and Kanaka Maoli filmmakers and will take place November 5-29.
“This has been an enormously difficult year for nonprofits, artists and arts organizations, and creative entrepreneurs in Hawai’i. While our 40th anniversary isn’t the grand experience we had been planning, I could not be more proud and excited to announce our Festival lineup.” says Hiff Executive Director, Beckie Stocchetti. “For our 40th anniversary, the Hiff lineup is a statement on the perseverance and resilience of Hawaii’s community and entrepreneurial spirit. In an unexpected Festival year, we are proud to have pivoted our theater experience into a top-tier streaming experience,...
“This has been an enormously difficult year for nonprofits, artists and arts organizations, and creative entrepreneurs in Hawai’i. While our 40th anniversary isn’t the grand experience we had been planning, I could not be more proud and excited to announce our Festival lineup.” says Hiff Executive Director, Beckie Stocchetti. “For our 40th anniversary, the Hiff lineup is a statement on the perseverance and resilience of Hawaii’s community and entrepreneurial spirit. In an unexpected Festival year, we are proud to have pivoted our theater experience into a top-tier streaming experience,...
- 10/10/2020
- by Dino-Ray Ramos
- Deadline Film + TV
While the detail of the history of Kaua'i is shown to be complicated by Anthony Banua-Simon's well-structured documentary about the Hawaiian island, it is also depressingly familiar - a story of the might of big business, colonialism, cultural appropriation and the disenfranchisement of the indigenous population that, as in so many places across the globe, has proved stubbornly resilient to change.
The Cane Fire of the title refers to the first of more than 100 films and TV shows to be shot on Kaua'i - from South Pacific to Fantasy Island. Made in 1934 by Lois Weber, the film - now lost - tackles a relationship between a colonialist and an indigenous young woman and builds to a rebellious conflagration. Banua-Simon uses film clips throughout this documentary, to illustrate the way people's perception of Hawaii has been shaped by them, showing along the way how the local populace are almost always relegated to.
The Cane Fire of the title refers to the first of more than 100 films and TV shows to be shot on Kaua'i - from South Pacific to Fantasy Island. Made in 1934 by Lois Weber, the film - now lost - tackles a relationship between a colonialist and an indigenous young woman and builds to a rebellious conflagration. Banua-Simon uses film clips throughout this documentary, to illustrate the way people's perception of Hawaii has been shaped by them, showing along the way how the local populace are almost always relegated to.
- 6/5/2020
- by Amber Wilkinson
- eyeforfilm.co.uk
Like so many of its festival brethren, this year’s Hot Docs Festival has pivoted into online-only spaces, turning its (initially postponed) 2020 edition into an entirely virtual affair. But while the beloved documentary festival won’t have the usual physical gathering, this year’s full lineup is a robust one, with over 140 films and online events. Those titles include both world premieres unique to Hot Docs, along with some of the year’s best new docs getting another platform.
The festival has preserved one aspect of its existence in that not everyone will be able to access this year’s lineup: The program can only be streamed by audiences in Hot Docs’ native province of Ontario (through individual tickets and package deals) right here. For everyone else, we’ve noted other festivals and venues where these Hot Docs selections will be playing in the coming weeks. Here are 10 Hot Docs...
The festival has preserved one aspect of its existence in that not everyone will be able to access this year’s lineup: The program can only be streamed by audiences in Hot Docs’ native province of Ontario (through individual tickets and package deals) right here. For everyone else, we’ve noted other festivals and venues where these Hot Docs selections will be playing in the coming weeks. Here are 10 Hot Docs...
- 5/28/2020
- by Kate Erbland, Eric Kohn and David Ehrlich
- Indiewire
We’ve highlighted the work of nonfiction filmmaker Anthony Banua-Simon before, notably 2018’s compilation documentary short Pure Flix and Chill: The David A.R. White Story. Banua-Simon’s debut feature, Cane Fire, was set to make its world premiere at this year’s Hot Docs, and still will in its online edition. A mixture of personal and archival material, refracted through both personal and national history, informs Cane Fire. From the press kit: The Hawaiian island of Kauai is seen as a paradise of leisure and pristine natural beauty, but these escapist fantasies obscure the colonial displacement, hyper-exploitation of workers, and destructive environmental extraction that have […]...
- 5/5/2020
- by Filmmaker Staff
- Filmmaker Magazine-Director Interviews
We’ve highlighted the work of nonfiction filmmaker Anthony Banua-Simon before, notably 2018’s compilation documentary short Pure Flix and Chill: The David A.R. White Story. Banua-Simon’s debut feature, Cane Fire, was set to make its world premiere at this year’s Hot Docs, and still will in its online edition. A mixture of personal and archival material, refracted through both personal and national history, informs Cane Fire. From the press kit: The Hawaiian island of Kauai is seen as a paradise of leisure and pristine natural beauty, but these escapist fantasies obscure the colonial displacement, hyper-exploitation of workers, and destructive environmental extraction that have […]...
- 5/5/2020
- by Filmmaker Staff
- Filmmaker Magazine - Blog
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