Category Archives: Tribeca Film Festival 2018
Intrepid reporter Wendy Moscow tests out virtual reality at Tribeca Film Festival.
April 22, 2018. The April 21 premiere screening of director, producer and editor Dava Whisenant’s new documentary “Bathtubs Over Broadway” was outrageous, electric and exciting. It was a hilarious, joyous and heartfelt event about a sub-culture and a piece of entertainment history about which almost nothing was known…that is until now. Read the rest of this entry
The Tribeca Film Festival is in full swing, and with the incredible variety of films and other media to choose from – narratives, documentaries, and “immersive” presentations (virtual reality), it’s hard to know where to begin.
The films “Jellyfish” and “United Skates,” though very different (the first is a narrative from the U.K., the latter a documentary made in the U.S.), are surprisingly linked by their ability to address contemporary issues of alienation, oppression and empowerment honestly and unflinchingly. Read the rest of this entry
April 22, 2018. “Howard” is a detailed and absorbing documentary about the life and work of Howard Ashman. Ashman was the lyricist behind Disney’s “Beauty and the Beast,” “Aladin” and “The Little Mermaid.” He frequently collaborated with Alan Menken. “Howard” shows us that Ashman was far more than a lyricist. He was also a director and writer. Sadly, Ashman died of complications from AIDS in 1991 at the age of 40.
“Howard” depicts Ashman as a relentless perfectionist who knew what his vision was and strove to achieve it. Ashman’s work was ground breaking. His music brought a Broadway musical quality to animation – witness the many long running Broadway adaptations of Disney’s animated feature films. Read the rest of this entry
April 22, 2018. Class, gender, Jesus, Red Bull and a will to survive, might be the best terms to describe “Tanzania Transit,” an incisive documentary, by director Jeroen van Velzen, about travelers on a train crossing Tanzania. This is a very well edited film that depicts the train as a self contained world in which an unusual collection of passengers, just three people out of many on the train, tell their stories. Read the rest of this entry
April 22, 2018. In the college sociology classes which I teach we talk about something called an “objective reality.” An “objective reality” is the thing that just is without adding any meaning to it. How people interpret an “objective reality” is called the “social construction of reality.” I would be hard pressed to think of better examples of “objective realities” and the “social constructions of reality” put to them than those portrayed in the documentary “The Man Who Stole Banksy.”
The film actually has two “objective realities.” The first is the large, highly controversial, wall that Israel built, which has attracted international attention. To the Israeli’s the wall represents security. To the Palestinians the wall represents repression. Entering into this debate about the meaning of the wall is the secretive and controversial artist Banksy, someone who, apparently, no one has ever seen. His identity is a mystery. Read the rest of this entry