The thing about documentaries is that they always find an audience, no matter how big or small.  This year the RTR programme showcased many films with very urgent and timely themes.  The political and economic situations in the world today can be worrisome.  Some of these films hold a mirror on which we can see the reflection of the world we've created.  The ask us to be an active audience.  Yet, there were other documentaries that transported us back in time... into the mind of a filmmaker; to a time where change seemed inevitable and more.  

Here are a few images that capture the last ten days.  Leave us your comments and tell us your hightlights.  In case you're unable to see the video; click here. 

All photos by Heidy M. 

To get us in the mood, Colony co-director Ross McDonnell gives us the following facts about bees. Check out the new Colony movie website for more!  

Bees: The Facts.

The honeybee has been around for 30 million years.

It is the only insect that produces food eaten by man.

The average honeybee will actually make only one twelfth of a teaspoon of honey in its lifetime.

More...

When Violeta Ayala and Dan Fallshaw began filming Stolen, they were simply trying to film a family reunion.  The Polisario-fun Sahawari refugee camp in Algeria works with the UN to reunite families who have no seen each other for many years.  In this film, Ayala and Fallshaw were going to tell us Fatim's story.  As filming progressed, they were being told by several refugees living in the camp that slavery still took place these days.  Slavery is common practice in several North African countries, including Morocco, Algeria and Mauritania.  This is where the film would take a different turn... this is where the controvery behind this film began.

Even before the premiere of their film in Sydney, Australia the filmmakers had been dealing with hassles from the Polisario and the Algerian government.  In not so many words, they were been told not to show this film.  The Polisario eventually got Fatim and her family to recant her story and say that their stories were manipulated in a way that isn't true.  For the several months, the film's validity has been questioned.  In fact, who is telling the truth here? The filmmakers who want to expose a very troublesome issue or Fetim and her family who simply want to have a regular life in the camps?  You will have to see the film and make your decision.  You can also read about this controvery online.  The film will also create debate about the relationship that develops between the documentary filmmakers and their subject.  The point here is that we can take part in exploring the issue and become more informed.  

During the Q&A last night, the audience responded positively to the film.  The filmmakers discuss their film in more detail in the video below.  Towards the end of the Q&A, a man (who speaks Hassiniya) had to make a point to challenge the filmmakers by citing a list of sources that state the translation in the film is not accurate; to which Ayala responded that a very credible Hassiniya translator verified the subtitles of the film.  He still continued to list other sources on the internet that challenge the integrity and honesty of the film.  At this point, the rest of the audience began to ask him to stop rambling.  The last question of the session was about how the we can get involved and help the people of Norther Africa who are still living in slavery.  Ayala listed several organisation such as, Slavery Internation (London, UK) and Free the Slaves (North America).  They also mentioned that new projects to help these people need to start up.  It seems like the discussions and debates will continue.

For info on when you can see this film again, click here.

N.B. In case video does not work here, use this URL  

(Photo by Heidy M.)

In The Art of the Steal, Don Argott dissects how Dr. Albert Barnes' extensive art collection was permanently removed from the original foundation building; very much against Dr. Barnes' last wishes.  If you've read about the film or are a fan of art, then you already know about this legal "art theft."

Some of us learned quite a bit from watching this documentary.  I must admit, I attended the Barnes Exhibtion at the AGO in Toronto back in 1995; not knowing the controvery behind it.  During the Q&A, a Toronto woman spoke about protests that took place here during the AGO exhibit.  Again, something that was not very well known to some of us, including the filmmaker.  During the Toronto show, the AGO Board of Directors was invited to talk to the protesting group in order to raise awareness of the violations to Dr. Barnes' wishes.  Nonetheless, the show continued to great success.

People in the audience wanted to know what is to happen to the original foundation building, when the art works are moved to a new building on the Benjamin Franklin Parkway.  Argott said he's not sure but it seems that the original building will still be used for administrative purposes.  The film has been getting quite the buzz.  It's informative and it raises some interesting issues of class, race and capitalism... As Argott said, he hopes this film will "shift the dialogue to larger issues" at play.

For info on upcoming screening times and location, go here. 

(Photo by Heidy M. From L-R: Demian Fenton (Editor), Sheena M. Joyce (Producer), Lenny Feinberg (Executive Producer) and Don Argoot).

Most of us have grown up with many Disney films; animated or otherwise.  During the decade between 1984 and 1994, Disney underwent several changes in their corporate structure, which came to affect the animation department as well as the films that would be created during that time.

Former Disney employees Peter Schneider (President of Feature Animation) and Don Hahn (film producer) got together about a year and a half ago to discuss the idea of making a film about animation and the Disney company.  The result is Waking Sleeping Beauty, which premiered last night to great response.  The film was composed of all archival footage filmed by Disney Studios during the years between 1984 and 1994.  Hahn explained during the Q&A that they used archival footage only and no interviews with other former Disney employees to transport the audience back to that time and to give us a more intimate look.   

Schneider explained a little bit about the three main executives of the time and their response to the film.  All three (Michael D. Eisner, Jeffrey Katzenberg and Roy Disney) have seen the film.  Katzenberg found it powerful and was "very moved by the movie."  Eisner was tougher and demanded better; he said "you guys can do better."  The second he saw the film, he said it was better.  Interestingly, Hahn shared with audience how the making of the documentary was a means for these three men to apologise to each other and would ask about the others' reactions and their comments to the filmmakers.  That time at Disney was so chaotic and tension among the three execs ran high; thus, the lack of contact after so many years.

In terms of what came to a surprise while making the film, Schneider said he found it interesting how each of the executives would say "I come off like an idiot and the other two look great."  For Hahn, what was surprising was how important Frank Wells' (President and COO at the time) role was, since he was like "the marriage counsillor."  When an audience member asked Schneider whether documentary films were harder to make than animation or vice versa, his response was "the medium is secondary... the hardest things is to tell a compelling story."  In Waking Sleeping Beauty, they have achieved this.  It is interesting, keeps the audience engaged and the archival footage certainly takes you back in time.

The film screens two more times at the festival.  For more info, go here.  

(Photo by Heidy M. From L to R: Thom Powers, Peter Schneider and Don Hahn)

Dan Fallshaw and Violeta Ayala sent us this video that they made after their first visit to the Polisario camps where they would focus their film.

For screening information for Stolen click here 

The Mavericks programme offers audience members to get to know the filmmakers up close.  Yesterday afternoon, Thom Powers had the chance to sit down with comedian, actor, filmmaker Chris Rock.   It did not take very long for Chris Rock to have us all in stitches about one thing or another.  He mentioned he had the idea of doing a documentary about the cultural significance and importance of hair in the black communities as far back as the early 90's; he just wasn't famous yet to afford to have it made.  The idea came to him in Atlanta, GA when he was doing a stand-up show and at the same hotel the Bronner Brothers Hair Competition was also taking place.  Finally, when his youngest daughter asked him why she didn't have "good hair," he decided to go ahead and make the documentary Good Hair (playing at this year's festival).

He talked a little about the making of the film.  He was able to have some famous Black women talk candidly about their experience with hair products and hair rituals.  He joked that a few glasses of wine were helpful with that.  More than that, though, the film is about talking about an topic that is so important yet no one has actually brought it up before.  Having seen the film, I must say that it's funny but underneath the humour the issues of identity and of course, profiting from the art of hair styling and from hair itself are very prominent. 

Later on, Chris Rock mentioned that Michael Moore's Roger and Me made a big impact on him twenty years ago and that he's been interested in documentary films for a long time.  Rock actually attended the premiere of Moore's film Capitalism: A Love Story on Sunday night at the Elgin theatre.  When asked about his many travels as a comedian and his trip to South Africa, Rock described as a goal he had set for himself.  "Rock stars are rock stars because the play the world... I wanted to do that," he said.

 The audience had a chance to ask a few questions... Someone asked what Rock's wife thinks of the film.  He stated that she liked it; she had a "Good Hair party... she's never had a party for any of my other movies."  A young woman just had to ask about one of the characters from the first Transformers movie... Rock, always the comedian, simply said: "How did she get into this festival? Why would you ask a question about Transformers?"  The overall interview was filled a lof of funny bits that I wish I could share with you.  But I think if you know Chris Rock, then you know his type of humour.  

As for Good Hair, it still has some showings at TIFF... Click here for more info.  The films comes out in Canada on October 16th.

Last night's premiere of Capitalism: A Love Story brought began with some organised chaos as Michael Moore arrived to the Elgin Theatre accompanied by members of the Steelworkers Union from Sudbury.  As this new documentary sheds light on America's love for capitalism and how this relationship has cost them greatly, having these union workers come to Toronto reminds us that Canada is not far behind.

I will not say too much about the film because it's an experience that you need to have for yourself.  I sat next to the directors of The Most Dangerous Man: Daniel Ellsberg and the Pentagon Papers (Judith Elrich and Rick Goldsmith) and from their reaction and the standing ovation at the end of the screening, I'd say everyone was glad to have been there.  Like all other Michael Moore documentaries this film is emotional, poignant and very timely. 

Take a look at this short clip of Mr. Moore and his description of the film.  Hope you are able to take it in during the festival and get others to join you.

Curious and want more information on the next screenings? Go here.

(Photo by Heidy M.)  

Saturday night, some of us had the pleasure of taking in Frederick Wiseman's latest work, Frederick Wiseman Presents La Danse -- Le Balle de L'Opéra de Paris.  The film takes us inside the Paris Opera Ballet, which functions not only as a ballet company but also as a school.

Wiseman is well-known for filming institutions and being able to bring us the experience of what is like to be at these places.  In the short video clip shown here, Wiseman talks a little bit about his career; the years he lived in Paris following Hemingway's route; his stint as a law professor to earn some extra money; how he got into filmmaking and his style of filming. 

It was interesting to hear that often Wiseman knows someone that can connect him to the person(s) who are in charge of the institutions he wants to film.  For the current film, La Danse, Wiseman chose to film in the fall of 2007 since the company was rehearsing for both modern and classical ballet styles.  He wanted show the dancers' profesional life without being too intrusive.  The crew consisted of three men: Wiseman, who did sound, a cameraman and another man changing the magazines for the camera.  When asked about the themes or structure of the film and whether the came prior or after filming, Wiseman response was the he has no idea what the film's themes will be.  The themes and structure "come up at the beginning of editing, after deciding which collection of sequences" he'll use.  During editing, he'd get the "internal rhythm" of the sequences as well s the rhythm between sequences.  Even after editing had begun, Wiseman would go back to look at the rushes and he'd find more shots to include in the film.  The result is a fluid composition; very much like a ballet. 

An audience member asked him about the various shots of Paris which are interspersed with the shots of the ballet school.  Wiseman mentioned that the city shots "break up the intensity of seeing the dancers' at work... they're a transition or a pause."  There are several shots of Le Garnier and Bastille buildings as well; this is because there are the two places where the ballet performs.  Wiseman explained that seeing shots of all of Paris also help to transport between these two buildings.  In order for all the shots in the film to make sense, Wiseman has to have a "verbal interpretation of how the shots relate to each other"... they have to make sense to him.

Towards the end of the Q&A, Wiseman shared with the audience that he feels the films he makes "are fair to his experience of his being at the institution" and his studying the material afterwards.  I would say his work is worth exploring, if you're not familiar with it.  He has a very keen eye and a great way of taking us to many places. 

(Photo by Heidy M.) 

Here's a teaser for Schmatta: Rags to Riches to Rags, playing today at 5:00 PM at the AMC.  Thanks to director Marc Levin for sending it to us!

For Schmatta screening information, click here

There is no doubt that being able to access the internet pretty much all the time from just about anywhere gives us a chance to connect with many, many people from around the globe; as well as, find instructions to do just about anything.  With such accessibility anything can be outsourced anywhere in the world, so why not surrogacy?

Zippi Brand Frank's film Google Baby presents to us how the internet makes it possible to have a woman in India carry the embryo that belongs to someone else, an individual or couple who want a baby but can't, to full term while getting paid for her "services."  A large part of the film is set in India; in Dr. Nayna Patel's clinic where these surrogate mothers are looked after for the duration of their pregnancies.  Throughout the film, Brank Frank interviews other couples and individuals who seek to have families this way.  She also interviews an American woman who is an egg donor; thus, giving us several perspectives on the issue.   

Brand Frank was joined by the film's producer Zvi Frank after the premiere for a Q&A session.  They both mentioned how the Dr. Patel provided full access to her clinic for three years and that without her, this film would not have been the same.  Brand Frank mentioned that your "reaction to the film depend on which side of the issue you are."  They also talked abouit how prices for surrogacy very depending on the "look" the couple want for their baby.  This is true "globalization" at work.  Many issues are raised in this documentary... an important one being that records are not kept on the offspring of all donors, which leads one to question whether this type of business should be regulated.

The film is powerful and will leave you with lots to think about... ethical and moral issues.  It will make you question just how open-minded you really think you are.  If you are a fan of documentaries, this is a must-see this year. 

For info on upcoming screenings, click here. 

(Photo by Heidy M. From L-R: Zvi Frank, Zippi Brand Frank and Thom Powers) 

 Anthony Kaufman writes for The Wall Street Journal and Variety among other publications; and blogs at Indiewire. Here are his TIFF doc picks:

1. Chris Smith makes great, underappreciated movies (from his 1996 debut American Job to his more recent The Pool), so I have little doubt that  his latest Collapse will be a superbly crafted portrait. And personally prone to enjoy stories of apocalypse, I'm particularly biased towards this latest  subject.

2. When fiction filmmakers try out nonfiction, the results don't always hold  up, but Iceland director Fridrik Thor Fridriksson's latest project The Sunshine Boy (pictured) seems like it has a delicacy and simplicity that might be well  suited to the filmmaker, and humanist, compelling subject matter--the quest to understand autism--that would be hard to muck up.

3. What's currently happening in both China and contemporary Chinese documentary film is often fascinating to behold - see recent Toronto standout  Still Life. That makes me curious about Guo Xiaolu's Once Upon a Time  Proletarian: 12 Tales of a Country. Descriptives such as "dark, poetic, existentialist" usually catch my eye. Plus, the filmmaker--whom I never  heard of until now--was just awarded a Golden Leopard at Locarno, so Toronto  would be a good place to catch up on a new world talent.

The Viet Nam war has been the subject of many documentaries.  Daniel Ellsberg is a quintessential figure of the time; he helped shed light on the atrocities and the necessity to stop this war by leaking the "Pentagon Papers."

The film -- The Most Dangerous Man in America: Daniel Ellsberg and the Pentagon Papers --  is a personal account of the changes Ellsberg experienced throughout this time, his relationship with his wife Patricia, and the many friends who helped him the most important decision of his life.  Ehrlich and Goldsmith combine Ellsberg's own narrative with that of other key players and some very poignant images of the time.  

The audience responded very well to the film.  We were lucky to have both Mr. and Mrs. Ellsberg in the audience for the World Premiere.  After the film, they joined the filmmakers for a Q&A session.  It was great to see how pleased they were with the film.  Mrs. Ellsberg, as remarkable a person as Mr. Ellsberg, shared with us the fact her husband is still her hero and realises this everyday.  She has never stopped being impressed by him.  To give you an idea of their experience at the premiere, take a look at the short clip below.

For more info on The Most Dangerous Man in America screening times, go here.

(Photo by Heidy M. From L to R: Patricia Ellsberg, Daniel Ellsberg, Judith Ehrlich, Rick Goldsmith.)

The war in Iraq is still fresh in the mind of some but does anyone really understand what is like to come back home after a tour of duty.  Mike Tucker and Petra Epperlein, who also brought us Gunner Palace, now introduce us to four Iraq War veterans and their lives are like now that they've been back for a few years. 

In the film, How to Fold a Flag, we meet members of the 2/3 Field Artillery Unit: Javorn Drummond, Mike Goss, Jon Powers and Wilf Stuart.  Each has come back to a very different home situation but they're all struggling with the notion of what "home" really is.  We also notice firsthand the lack of resources for war veterans; especially, access to healthcare.  This is not the only issue these young men return to deal with at home.  There are families that need taken care of, an ailing mother just to name two.  The film is an emotional experience; I noticed a few teary eye audience members throughout the film.  It puts the audience right into the mindset of these young men... their disappointments, their sadness, their depression but also their hope that things can and will improve.  It's important to note that Jon Powers ran for Congress in 2008, a race he did not win; however, he continues on his political endevours to make things fair for all Americans.

It was noticeable throughout the film that the American flag is seen everywhere; on television, at sporting events, political rallies, etc.  As Tucker mentioned in the Q&A last night, it is a "lasting texture."  It reminds us of American rights; the very same ones that are denied to their fellow veterans.  The audience also got to meet Jon Powers and Javorn Drummond, who were the only two men in the film able to travel to Toronto.  Here is a short clip where Jon Powers tells us what he thinks of the film and how much he appreciates Mike Tucker's work in bringing forth the issues pertaining to the Iraq War. 

This film screens again on Sept 13th and Sept 19th.  For more info on times and locations, click here.

Marc Levin shares the story of how his documentary,Schmatta: Rags to Riches to Rags, got made

In the summer of 2007, my producing partner Daphne Pinkerson and I met with HBO senior producer Nancy Abraham and Sheila Nevins, president of HBO Documentary Films, who was interested in finding a good story to illuminate the the current troubled economic times.  I had made a number of contacts in the hedge fund world and the sub prime crisis was just beginning to heat up.   I thought I might be able to get access to Wall Street insiders while the crisis unfolded for an unprecedented verite look.   But she rejected the idea  saying, “Wall Street’s for Bloomberg or CNBC, not our style – why don’t you go to the Garment Center.”

Sheila looked at the label on her blouse, “This was made in China, my skirt was made in India, my shoes in Italy…do we make anything here anymore?

“If you want to wear anything made in America,” Daphne responded, “or that is made by non-exploited labor or a non-polluting process, you will probably have to go naked.”

“The Garment Center?”  I muttered.  “What’s that got to do with anything?”

Sheila smiled, “You’ll figure it out.”

It’s taken a while, but right from the start we playfully referred to the project as the SCHMATTA film.  Those who knew the Yiddish word for rag, laughed and thought it was a ballsy working title.  But we were surprised how many folks in the garment and fashion industries had no idea what the word meant.

As we talked to more and more people, it was amazing how almost everyone had some family member or friend who was somehow connected to the “Schmatta” business.  When Sheila revealed her great aunt Celia had died in the Triangle Fire, things began to gel.  I looked back to my own great grandfather, Isaac Levin, a young immigrant from Lithuania at the beginning of the 20th century, who invented the “adjustable dress form.”  My grandfather Herman Levin and his brothers took over the Acme Dress Form and Hanger Company in Brooklyn.  My father, Al, refused to go into the family schmatta business.  He and my mother Hannah were young labor organizers as was my father in law, Bill Burke, who actually worked with Sidney Hillman, the founder of the Amalgamated Clothing Workers of America union.    

We decided from the start that the film was going to be like a tapestry and the challenge was going to be in the stitching together of these compelling stories and characters.  We didn’t want experts or academics.  We wanted real people to create this rich human fabric - a colorful cast who would stay true to the word SCHMATTA and give the film a first person, street smart, raw, authentic, heartfelt, humorous voice.

The garment center would be the main character and the main location.   It  was once a magic kingdom and now it was down and almost out, a microcosm of the economic crisis that had touched so many.   It seemed that 2008 could be the last season in the garment center for a good number of the folks we met.       We decided to start the contemporary story at February Fashion Week and follow it through to September Fashion Week and then end with Black Friday and the start of holiday shopping.  Simultaneously, we developed a historical time line starting with the tragic Triangle fire in 1911 and ending with a similar recent tragedy, a deadly fire in a Bangladesh sweatshop.   We wove the stories of present day hard times and past history together with an emotional thread provided by a series of interviews with a wide variety of professionals who had just lost their jobs in the industry.

Over and over again we were moved by their stories which had a similar theme – they were devastated by a new world that no longer promised job security, benefits or the life style they were accustomed to.  Their testimony was emotional punctuation to what was happening to America’s middle class.  It was literally hanging on by a thread.

We wanted to highlight and contextualize the immediacy and power of their experiences.  We recalled Stud’s Terkels classic oral history – “Working,” and referred to our interviews as “Not Working.”  What ever happened to the working class hero?  What ever happened to the Average Joe?  It seems he had been devalued, laid off, or outsourced.  His fortunes mirrored the vanishing American dream.  We wanted to pull the curtain back to see the people behind the scenes who make and sell our clothes.

During September Fashion week 2008, Wall Street crashed.  There was concern that current events might be outstripping and outdating the SCHMATTA project.  But as we watched the Thanksgiving Day parade, I felt that if anything, it had made this film even more relevant and timely.  We had the story, “Rags to Riches to Rags.”  The Crash revealed that much of the wealth of this new gilded age was a mirage.  As the floats passed by Macy’s, it hit me, “THE ECONOMY HAS NO CLOTHES.”

~ Marc Levin

 You can find screening information for Schmatta here

Thanks to Ross McDonnell, co-director of Colony, for sending us this post!

"At the beginning of making the documentary Colony, a film that draws parallels between the honeybee colony and our own human colony, we spent some time filming at beekeeping conventions, doing interviews and researching before we actually saw our first beehives, littered along the sides of the California highways, getting ready to pollinate the almond crop.

It did not take us long however, once we started filming bees, that we began to appreciate why it is that, throughout history, this industrious little insect has enjoyed a special place in the hearts of man. Simply watching the beehive is, in many ways, to watch a whole world in miniature; it’s not hard to become quietly transfixed on the cycle of life unfolding before your eyes.

Endless dramas happen in the beehive everyday, blink and you miss them: The bees, returning to the mouth of the hive with their caches of pollen and nectar, briefing the departing foragers as to where to locate the target, can draw to mind the organized chaos of an aircraft carrier’s flight deck in scramble mode. The larva, hatching from the honeycomb, the baby bees emerging bleary-eyed, like thousands of joyous births every hour. The bees, repelling would be invaders and robbers of the hive, like bouncers taking charge at a nightclub brawl. The beehive is the perfect window for studying behavior: the insect world’s answer to Big Brother.

At the heart of this incredible microcosm is the amazing nature of the honeybee to work, not for itself, but for the greater good of the colony. The individual bee is not really aware of the greater whole, but has evolved to carry out small tasks that each contributes to the overall health and safety of its society. It is so devoted to protecting the sanctity of the colony that it will of course sting and lay down its life for the defense of the hive.

Over the course of the making the film, as the actions of a few selfish individuals collapsed the global economy, we began to attempt to show two societies, both experiencing unusual, unexpected collapses, with far reaching consequences. We documented the effect these unprecedented twin collapses had on the people involved:  the beekeepers. The result of this is the film ‘Colony’."

Click here for screening information for Colony

 On Day Two of soliciting TIFF doc picks, we turn to Guy Dixon, arts writer for The Globe and Mail, who tried to stay in the bounds of 3 picks, but couldn't help squeezing in more:

1. L'Enfer de Henri-Georges Clouzot (pictured), about the lost film of actress Romy Schneider found by a film archivist. The risk is that a little may go a long way, in terms of the mood lighting and modernist pastiche of the lost (and now found) footage. But curiosity by far gets the better of me.

2. Colony, about the collapse of bee colonies. The subtle, quiet trailer looks hugely promising. If the world is dying, best to see it soberly and for all its beauty. (Similarly, I'd gladly stand in line for Peter Mettler's Petropolis: Aerial Perspectives of the Alberta Tar Sands, even if in the case of that film, it promises to be the Ed Burtynsky-like beauty/devastation of environmental decline.)

3. Cordao Verde, in TIFF's more experimental Wavelengths program, about the links of Portugese farmers to the land. Knowing nothing about the film, apart from hints of potentially stunning photography and an artier tone than a typical documentary, I'm hoping to see it purely for the pleasure of discovery.

And if I can cop a fourth, it'd be The White Stripes Under Great White Northern Lights, about the band's Canadian tour, chosen for obvious reasons.

Directors Andrew James and Joshua Ligiari bring us Cleanflix; an inside look at the clean movement.  Some people really just want to skip over certain parts of movies...so why not edit them out? The film will give you lots to think and talk about.

Here are two short clips from the Q&A at the premiere of the film.  

Many of us probably have little knowledge of Israeli Cinema.  In this year's City to City Programme, we have a chance to learn more about its history via A History of Israeli Cinema Parts 1 and 2 by Raphaël Nadjari.

Part 1 covers films from 1932 to 1978.  Israeli Cinema began quite early in the 20th century with works that emphasized the idea of Zionism.  Then WWII happened and no films were made.  After 1948, fictional films became more prominent in which the Jewish male character becomes the "hero."  As time progresses, more filmmakers move away from making film that support Zionism and began making films that focused more on the indvidual experience.  Some of these filmmakers include Efraim Kishon, Menachem Golan and later on, Uri Zohar.

Nadjari uses interviews with film scholars, critics, produces, actors and filmmakers to reconstruct this history.   The archival footage helps us in learning more about Israeli culture; its many incarnations and of course, its rich cinematic history.

For those of you who enjoy a history lesson, this film will screen one more time on Sept. 16th.  For further information visit TIFF's website.

The Reel to Real Programme at TIFF has become one of the hottest ones in the festival over the last few years.  This year the programme began with L'Enfer D'Henri-Georges Clouzot by Serge Bromberg and Ruxandra Medrea.  The film premiered at Cannes earlier this year.

Bromberg brings us a film that tells the story behind the major production behind one of Clouzot's great ideas, which never really came to fruition.  The year was 1964 and Clouzot decides to have Romy Schneider (picured here) and Serge Reggiani star in his latest project L'Enfer.  The story was that of a man whose raging jealousy wrecks his marriage.  Of course, Clouzot's main point was to create a film that would depict the "madness from the inside the brain of a madman," as Bromberg described in tonight's opening screening at the Varsity theatre.

The film itself was never completed as none of the dramatic scenes were ever shot.  Bromberg obtained full access to test shots and whatever bit of filming that was done.  As Bromberg explained in the Q&A, L'Enfer seemed doomed from the start.  Clouzot's obsessiveness about everything being just "perfect" took a toll on the crew.  After just five days from the beginning of filming, the lead Serge Reggiani walked out.  Even if there is no actual film, you will be captivated by the story Bromberg has put together using test shots, interviews with crew members and even some film shots along with photographs of Clouzot himself.  The result is a kaleidoscope of images that will leave you wanting to see more.  Not only are the images beautifully haunting - considering the innovative and creative techniques of the time - but they're also a testament of Clouzot's own mind.

I leave you with a clip from the film.  You still have a chance to see this film either on Sept 12th and 18th; for more info on times and location go here. 

"Working on Google Baby I knew I was dealing with the actual application of business rules and commerce dynamics to… well babies. And yet the actual real life examples (excuse the pan) where many times surprising and hard to digest.

One such example that did not make it into the movie was that of Manjhi, a Japanese baby girl born to a japanese couple through a surrogate in India. Between the time she was conceived and her birth in India the ordering parents have divorced.  Neither the would-be mother nor father wanted the baby and they declined to come pick her up from the surrogate house in Anand. The Indian surrogate who gave birth to Manjhi was being pushed by local authorities in India to take her as her own. The Indian surrogate did not want to take Manjhi as her daughter and the Hostel backed her up in a legal dispute against the state. Eventually the Japanese grandmother from the divorcee father side from whos sperm Manjhi was conceived decided to take care of her and she made her way back to Tokyo 3 months after her birth.

When making a baby can be outsourced than clearly there bound to be situations where by  the outcome (not to say product) will be returned or at least not picked up. What happens then remains an open question....at least until you watch the movie."

Click here for screening info for Google Baby

Don Argott talks about how and why he came to make The Art of the Steal. 

"I didn't grow up in the Philadelphia area, so I must confess that before beginning this project, I knew very little about the Barnes Foundation.  The idea for the film came to us from executive producer Lenny Feinberg, someone who lived in the area and believed that the story of the Barnes was one that needed to be told.  As it turns out,  when you do mention the Barnes Foundation around Philadelphia, nearly everyone seems to have an opinion about it.  For those of you who may be unfamiliar with the Barnes, it is a jewel-box of a place tucked away in Merion, PA, and houses some of the most important and amazing post-impressionist and early modern art in the world.  I remember the first time I visited the Foundation, I really didn't know what to expect. What's all the fuss about? As I walked through he main entrance, the place just took hold of me-- it's sensory overload. Floor to ceiling masterworks by Matisse, Cezanne, Van Gogh, Picasso, Renoir, Seurat, etc.  Aside from being overwhelmed, the next thing I remember thinking was, how is it I've never heard of this place?

We then set out to tell the very complex tale of what this place is, how it got here, and where it's going.  As I soon discovered, there were decades of local animosity, complex legal battles, incredibly large egos and political corruption to wade through to condense into a digestible narrative. I also discovered the real main character of the film, Albert Barnes. Since he died in 1951, his Foundation has been under siege by powerful forces that have had their own agenda.  Since he's been gone for decades, he has been reduced to a name on a building. It was our goal to help bring him back to life and to tell the story through his eyes.

'm incredibly proud of the work we've done on this film. I miss the endless debates in the edit room with Sheena Joyce [producer], Judah Lev-Dickstein [associate editor], Demian Fenton [editor] and Lenny Feinberg [exec. producer]. We were all so committed to making this film the best that it could be and never settling until we knew we had it right. I look forward to finally getting to share it with the audiences."

Click here for screening times for The Art of The Steal. 

If you're a lucky holder of a TIFF press & industry pass, here's an insider's tip sheet on how to maximize your doc experience at the festival. Make sure to double check times and venues ahead of time for last minute changes (or in case I screwed up).

Most of the screenings below are marked P&I and require a press or industry pass to attend. Screenings marked "public" require a ticket. Check with press or industry office on how to obtain. Doc Conference can be accessed with a press or industry badge; Doc Roundtables are for industry only. Events at Yonge Dundas Square are free and open to everyone.

(Pictured: Jonathan Demme who will be appearing at Doc Conference on Sept 13 and for NEIL YOUNG TRUNK SHOW on Sept 14).

Friday 9/11

9:15 am P&I Varsity 5 - L'ENFER DE HENRI-GEORGES CLOUZOT

9:30 am - P&I Varsity VIP 1 - IRENE

10 am P&I Varsity 2 - PETROPOLIS

11:30 am P&I Varsity 2 - HUGH HEFNER (note: repeat p&i on Sept 17)

5:00 pm PUBLIC Scotiabank 4 - HOW TO FOLD A FLAG - it will be worth trying to snag a public ticket to see the Q&A with former soldiers from GUNNER PALACE

5:30 pm - P&I AMC 10 - SUNSHINE BOY

7:15 pm PUBLIC Varsity 3 - MOST DANGEROUS MAN IN AMERICA - here's another public screening worth the effort to see the Q&A with Daniel & Patricia Ellsberg

More...

Sky Sitney is the Artistic Director for Silverdocs, the venerable festival held outside Washington, DC in June. She'll be missing TIFF this year, but that didn't stop her from picking the docs she looks forward to seeing later:

From the description, CLEANFLIX seems to have all the fixings for a fascinating documentary: a real life BE KIND REWIND with a religious twist and a good ol' sex scandal. Really, who could ask for more?

COLLAPSE. I have been a steadfast admirer of Chris Smith's documentary work, from his sharp and humorous portrait of a DIY filmmaker making his Magnum opus in the horror genre, to the hysterical and inspiring THE YES MEN.  Smith has demonstrated a keen eye for social observation and I am eager to see what he reveals in his latest portrait of radical thinker, Michael Ruppert.

PRESUMED GUILTY. (pictured) Geoffrey Smith's prior film, THE ENGLISH SURGEON was a spectacular triumph. I have seen the poignancy and artistry that Smith can capture when training his eye on the medical establishment, and I am very eager to see what he and his collaborator, Roberto Hernandez, do when they focus their lens on the Mexican judicial system.

LA DANSE: LE BALLET DE L'OPERA DE PARIS. It's Frederick Wiseman. Need I say more? No one is a more insightful observer of American institutions - whether it is High School, Welfare, the State Legislature or Public Housing. I am interested in seeing how these observations translate overseas when Wiseman focuses on the Paris Opera Ballet. I have no doubt that it will be 160 minutes well spent.