Kees Driessen

A documentary which manages the seemingly impossible feat of merging myth and actuality, thereby becoming mythological itself without diminishing the impact of its factual reporting on the disappearing reindeer and reappearing mammoths of the Siberian tundra.

Acknowledging the influence of his mentor Roberto Minervini, director Carlos Alfonso Corral imbues his feature debut on homeless people at the US-Mexican border with remarkable immediacy and respect, within a highly stylized structure.

Filming only from his Zurich window, Swiss director Thomas Imbach inventively combines imagery of the demolition of an old, much-loved railway station, and the subsequent construction of a large prison and police centre, with reflections on the loss of loved-ones and the harsh treatment of newly arrived migrants.

One of the international films selected for DocLisboa Signals (the first of six sessions before the end of March 2021) is Gregory Monro’s Kubrick by Kubrick, in which the director himself finally talks about his oeuvre. BDE reviewed the film earlier this year.

In the final part of his Sicilian trilogy, Michele Pennetta shows the economic/familial similarities between two marginalized characters sharing the sun-scorched island, a teenage boy and a young Nigerian immigrant.

A harrowing one-hour seven-minute documentary that went criminally underreported by film journalists when it premiered at the Berlinale, and whose images have every right to become iconic.

In the final part of his Sicilian trilogy, Michele Pennetta shows the economic/familial similarities between two marginalized characters sharing the sun-scorched island, a teenage boy and a young Nigerian immigrant.

Beautiful, experimental and boundary-testing documentary entertains with a strange double protagonist and a washed-up white whale.

Shot from a Zurich window, the film inventively combines images of demolition and re-construction with reflections on the loss of loved-ones and the harsh treatment of newly-arrived migrants.

A new doc on Stanley Kubrick uses, for the first time, the audio of interviews conducted by French critic Michel Ciment. The result serves as a good introduction to his oeuvre, with the ‘final room’ from 2001 working as a clever focus point.