Tag: documentary

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Flee (2021)

This awards season has the regular frontrunners and blockbusters included in the mix, but one film that has taken critics and cinema goers by storm is animated docudrama, Flee. Executive produced by Oscar-nominee, Riz Ahmed and Nikolaj Coster-Waldau, Flee is the true story of Amin Nawabi, an Afghan man living in Demark who was forced to flee his native country when extremist militants begin to attack “non-believers” in Kabul. Not only does Amin have to grapple with the challenges of being a refugee and seeking asylum in a safe country, but he also comes to terms with his sexuality as a gay man. Flee marks itself as both a statement on the trials and tribulations that come with fleeing war-torn homelands and having to find a new place to call home, while also serving as a complex character study as Amin’s unique perspective is one that has clearly touched and resonated with many viewers.

The film is directed by Jonas Poher Rasmussen who is credited as a writer alongside the film’s subject, Amin Nawabi. It is apparent that the two have known each other for a while, which makes the film lovely to watch as they have a wonderful rapport. Rasmussen doesn’t pressure Nawabi into saying anything he isn’t comfortable saying, and even asks him to reflect on his childhood first before discussing anything that may be uncomfortable for him. The rapport between the two men is great and means that the script itself and the discussions have a natural flow and work well with the animation format, as we are able to see the world through Amin’s eyes. By using animation, Rasmussen is removing his own presence and placing more emphasis on Nawabi and ensuring that the story is at the heart of the film and the main focus, rather than the usual format of following a subject round with a camera.

The animation style is incredible, and it’s great to see the film included in the Best Animated Feature race at the Oscars. What makes the animation such a huge draw for the film is how the animators change the style depending on what is being said. The film opens up with an abstract and minimalist animated segment of people running away. This segment turns out to be the fabricated story that the traffickers told Amin to tell the Danish authorities in order to gain asylum and lends itself to the idea that the animation is not clear and complete. This contrasts to the majority of the film that has bright and vivid animation with clear-cut lines and plenty of vibrancy and movement throughout to indicate the certainty of Amin’s story.

The music is composed by Uno Helmersson and it is so expressive in that it feels as though it reflects the emotions that Amin is going through. Incorporating elements of Afghan-inspired sounds with dramatic pianos and violins, it seems as though Helmersson has used Amin as the inspiration for the music and transferred his identity and his story into the music itself. The track “Running Hiding” plays as Amin and his family desperately try to avoid capture from the militants with fast-paced bells to signal the intensity of the situation. This is immediately followed by the deeply melancholic, “Fleeing Kabul”, which places more of an emphasis on the sadness of having to leave home and not knowing where to go.

Flee has been listed as one of the best films of 2021 and with good reason. The combination of animation and documentary is seldom seen but works beautifully to tell Amin’s story. What Rasmussen and Nawabi achieve is a film that has a powerful message that is also innovative in the way that it is made. The great thing about films is that they allow us to learn from other people and hear their stories, and Amin’s story is one of huge importance in a landscape where so many people struggle to find a safe place to belong.

What did you think of Flee? Let me know in the comments below!

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The ParaPod – A Very British Ghost Hunt (2020)

As the film industry finds itself being dominated by franchises, prequels and sequels, it’s great to see initiative when it comes to adapting a different form of source material altogether. The Parapod Movie is the first feature length film based on a podcast. The Parapod is a podcast that sees paranormal believer Barry Dodds and his skeptic friend, Ian Boldsworth discuss whether paranormal existence is real. Among the years, they have discussed the paranormal, mysteries and conspiracy theories that cover a wide range of subjects, garnering a huge fan base along the way. As the podcast has grown, making a film seems like a logical step and works really well thanks to the subject.

Directed by its star Ian Boldsworth, The Parapod Movie is centred on a podcasting session between Boldsworth and Dodds who reminisce about the latter’s attempt to convince the former that the paranormal does exist. Travelling to various locations across the UK, the team venture into some creepy locations including the Edinburgh Vaults where Dodds is convinced he sees something. Boldsworth directs in his debut and does a great job of incorporating elements of documentary including interviews with psychologists and journalists whilst also giving the audience a closer look into his friendship with Dodds. Completely honest in his approach, The Parapod Movie mixes documentary and mockumentary.

The film’s stars, Ian Boldsworth and Barry Dodds, are the driving force behind the film and it is their back and forth banter that acts as the engine and propels the film onwards. Even when faced with Ian’s pranks and jokes, Barry is certain of paranormal existence. Due to the documentary nature of the film, we see their friendship tested and even an argument after a prank goes horribly wrong. However, the scariest scene in the film comes when Barry believes he sees something and the look on his face is genuine terror. It doesn’t matter whether there was something there or not but the reaction Barry has was real and makes the audience question what it was. Seeing Ian’s concern for Barry immediately flips the tone of the film and drives it into horror territory.

The first thing that strikes you about the film is the music by Thomas van der Ree. Mixing in elements of horror, the soundtrack works well for the film as it constantly provides a darker undertone, even during the funnier moments. The opening track does a fantastic job of setting the mood and tone as we hear and see jilted footage of Barry’s panic attack. The music also does a great job in threading the film together as it provides a consistency and momentum that works well against the various locations visited.

The editing by Simon Gibbs is really what makes this film a truly great cinematic experience. Gibbs’ use of mixing various camera shots and different kinds of footage makes the film unpredictability and, at times, uneasy to watch. Mixing in scenes of lingering tension with single takes as well as scenes that has uses different disorientating angles to bring across the uncertainty and fear in the scene bring an element of horror to the film in a way that makes any paranormal presence unimportant regardless.

Overall, The Parapod Movie does a great job of incorporating its podcast roots into a cinematic format. Relying heavily on Boldsworth and Dodds’ fantastic partnership, the film is enjoyable to watch and a great treat for fans of The Parapod and equally as thrilling for those who haven’t listened to the original podcast before.

What did you think of The Parapod Movie? Let me know in the comments below!

The Parapod Movie is available to buy digitally from 27th September 2021!

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Crip Camp (2020)

One of the best documentaries coming into this awards season is this Netflix feature that was executive produced by Barack and Michelle Obama. Crip Camp follows the participants of Camp Jened in the 1970s which was a place that catered to teenagers with physical disabilities. Written and directed by Nicole Newnham and James Lebrecht, the film looks at the campers’ experience  at the camp and also their experiences as disabled teens growing up in ableist American in the mid-20th century and how they managed to create change when it comes to ableist discrimination. Starting with the inception of Camp Jened, we are taken through the camp’s lifespan, the campers and their stories to adulthood and how the camp has affected them and motivated them to inspire change. Crip Camp doesn’t hold back and doesn’t want you to feel pity for the campers but inspiration. We immediately see the campers adapting to their environments and thriving despite what society wants to make them think. Simultaneously, simple things such as easy access to public transport and buildings doesn’t exist and organisations and campaigners take it on themselves to fight an establishment that refuses to have their back.

Starring interviews from as many of the campers, campaigners and Camp counsellors, Crip Camp immerses you into their world at the time. As the campers frequently experience discrimination in the “real world”, especially those who had more severe disabilities whereas at Camp Jened they are able to express themselves and feel like they can be heard without prejudice. Refusing to be defined by a society that doesn’t cater to their needs, the kinship at Jened soon turns into a powerful campaign to outlaw ableist discrimination. Also, the rebellious nature that the campers had from a young age has followed through to the present day. They campaign and protest strongly whilst also having fun as they refuse to let society’s bias dampen their spirits.

One of the most powerful scenes in the film comes in the form of the “Capitol Crawl” in which 1,000 people travelled to the Capitol to campaign for the Americans with Disabilities Act to be passed. 60 of the protestors then proceeded to climb up the steps to showcase the need for easy accessibility. To see this footage alongside interviews with organisers and fellow protestors sums up the struggle and the result of their campaigning. When starting the film, you don’t think that it will all end up at the steps of the Capitol but the film grows bigger from the small group of campers to the nationwide protest. Camp Jened feels like a starting point of revolution and this is an important story for our times.

Behind the scenes, the highlight for me is Bear McCreary’s score. Known for his dramatic music for film, television and games with The Walking Dead theme song being his most well-known venture, his score for Crip Camp is subtle and beautiful. The perfect backing track that tells a story in itself, McCreary has been making his mark on composing in recent years and this is another huge accomplishment. Justin Schien’s cinematography is also a fantastic element to the film thanks to his minimalist and realistic approach.

Overall, Crip Camp is a film that brings the unexpected. Chronicling the summers at camp that gave these kids a chance to be themselves with no restrictions, we see how their positive experiences rippled through into their adulthood and inspired change. It will leave you astounded and in awe of the incredible achievements that transpired from their experiences.

What did you think of Crip Camp? Let me know in the comments below!

Crip Camp is available to watch now on Netflix.

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Raindance Film Festival 2020: Roundup

Raindance Film Festival has ended and I can’t believe that this is not my first but second festival. I have managed to watch 7 films that are proof that indie films are still thriving and exciting as ever. Having viewed a selection of films from different countries that explore a variety of topics from identity struggles to death row to flamingos. There really was a film for everyone on my watch list. Admittedly, I would have watched a couple more but my birthday fell right in the middle and I gave myself a couple of days off hence the lower final film count. However, what I did manage to watch were fine examples of filmmaking that is intuitive and creative with the directors all utilising their resources brilliantly.

From my first film The Eagle’s Nest to the last, Ella es Cristina, Raindance has exceeded my expectations and all of the films felt poignant and relevant exploring very real issues that affect the world today. After looking at the list, I knew Nuclear was one I had to watch for its Welsh connections as well as Ella es Cristina as it was directed by the man who co-wrote A Fantastic Woman. I didn’t know what any of the films were about going in which made it an even more exciting experience.

As with my London Film Festival Roundup (which you can read here), I thought I would pick my personal winners. Now, bear in mind I only watched 7 films but all 7 proved to be amazing contenders in each category and it was still really hard to decide.

Here are the Smaller Pictures Winners of Raindance Film Festival:

Best Picture – Ella es Cristina

Best Director – Catherine Linstrum for Nuclear

Best Leading Actor – Andriy Lidagovskiy for My Thoughts Are Silent

Best Leading Actress –  Mariana Derderián for Ella es Cristina

Best Supporting Actor – George Mackay for Nuclear

Best Supporting Actress – Felicity Asseh for The Eagle’s Nest

Best Original Screenplay – Gonzalo Maza for Ella es Cristina

Best Debut Screenplay –Antonio Lukich for My Thoughts Are Silent

Best Documentary Feature – The State of Texas vs Melissa

Best Original Score – Cristobal Carvajal for Ella es Cristina

Best Cinematography – Arsene Romuald Mvondo for The Eagle’s Nest

Best Editing – Yago Muñiz for The Mystery of the Pink Flamingo

Best Production Design – Carly Larson for Under My Skin

Best Costume Design – Nicole Capasso for Under My Skin

Best Hair and Makeup – KC Mussman for Under My Skin

Being able to review films for Raindance has been another highlight of my year and a huge step for this site. Having the chance to watch such amazing films is always a treat and to be accepted as press for one of my favourite festivals is something I won’t forget.

So that’s my Raindance Film Festival Roundup done and dusted. I highly recommend giving the films I reviewed a watch. All of them were so different and unique, I hope to catch them again in the future. Let me know your thoughts on my reviews and if you had the chance to watch the films.

As ever, here are the reviews I wrote for Raindance Film Festival if you would like to read them:

The Eagle’s Nest

Ella es Cristina

My Thoughts Are Silent

The Mystery of the Pink Flamingo

Nuclear

The State of Texas vs Melissa

Under My Skin

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Raindance Film Festival 2020: The Mystery of the Pink Flamingo

Getting back to my Raindance viewing after a few days off, the next film on my list is a documentary that immediately grabbed my interest. The Mystery of the Pink Flamingo follows an eccentric sound engineer, Rigo Pex, who begins to see pink flamingos everywhere and wants to get to the bottom of what it all means. Directed by Javier Polo, The Mystery of the Pink Flamingo is as vivid and fearless as the subject it seeks to discuss. Combining many mediums such as animation, art, music and film, the documentary is a culmination of how the pink flamingo became a symbol for those who wish to live freely. The pink flamingo is representative of kitsch and a cheapness that also belies a culture of bad taste and boundary pushing. What emerges from the film is how different people have taken figurative and literal inspiration from the flamingo and how this affects their life and shaped their identity. Just like the documentary’s interviewees, Pex begins to welcome the prospect of a new identity that opens new doors to professional and personal fulfillment.

The documentary itself subverts the traditional tropes. Dramatises itself with an ominous unseen narrator who questions Pex at various points, there are times when the lines are blurred between documentary and feature. Pex himself becomes a sort of fictionalised character as his journey reflects those found in feature films. Opening with a dream sequence in which Pex is pecked by a flamingo and is clearly bothered that the reoccurring presence of the animal in his life, so much so that he feels as though it is blocking him in some way. What his venture teaches him is that rather than blocking him, the pink flamingo is actually a door to discover more about its symbolic significance and what it means to people and ultimately to himself.

On his journey, Pex begins to switch his predominantly black wardrobe for more colourful attire and becomes happier in his outlook on life and in himself. The pink flamingo becomes an emblem for something more. As he records the sounds he encounters, he finds himself finding purpose for this sounds and mixes some together to create a piece that expresses his new identity. Featuring interviews with artists, musicians and filmmakers among other professions, The Mystery of the Pink Flamingo becomes a discussion piece on what it means to be kitsch and live an alternative lifestyle that refuses to conform to societal norms. Among my favourite interviews was one with the legendary John Waters. Known for his controversial filmography including the notorious 1972 film Pink Flamingos which features iconic drag queen, Divine, Waters explains his thought process and why it is important to express the bad taste to clash with the good taste that society favours. A brilliant takeaway from this discussion was that his passion to be controversial and in bad taste comes from his upbringing with parents who raised with him good taste. This upbringing provided him the rules that he would seek to break throughout his career.

What struck me through this film is how important sound is. A huge part of Pex’s initial personality is his passion for his work as a sound engineer. He records sounds from every street in his town and stores them systematically without knowing what purpose they will serve. As he travels around America, the sounds he records begin to merge and come together like a puzzle piece in Pex’s mind. By becoming more comfortable in how he presents himself and allowing himself to be pushed out of his comfort zone, we see his musical venture begin to take shape also. The second half of the film following the construction of an initial beat that grows into a musical piece played at the end that aligns with a sequence showcasing Pex’s journey to a world of colour and kitsch. The sounds of the journey making the documentary a sensory experience and creating a synesthesia effect.

Overall, The Mystery of the Pink Flamingo is a great look into how identity is an ongoing journey rather than something that is fully formed and stagnant. Using Pex as a way into this quirky lifestyle that looks at how the flamingo has been a literal and figurative inspiration to many throughout the decades allows the audience to believe in Pex’s evolution as he begins to shift in his outlook.

The Mystery of the Pink Flamingo is showing at Raindance Film Festival 2020.

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Raindance Film Festival 2020: The State of Texas vs Melissa

My third film at Raindance is a heartbreaking documentary by Sabrina Van Tassel. The films follows the case of Melissa Lucio, the first Hispanic woman sentenced to death in Texas for the abuse and death of her toddler, Mariah. The interviews with Lucio take place 11 years into her life on death row as she is approaching her final appeal. A mother of 14 children, Lucio expresses her regret at the situation and states that she often thinks about Mariah while also insisting her innocence. The tone of the film from the outset is one of great sadness as Melissa and the interviewees are forced to recount their memories of the case. With the forensic team claiming the results were the worst cases of child abuse they had witnessed, the appeal defence team argues that it is possible that Melissa wasn’t responsible for the death and that she was coerced into confessing due to the corrupt justice system.

What the documentary does is study both the prosecution and defence into the case through interviews with the forensic team, family members and lawyers amongst others. Chronicling Melissa’s life from her troubled past being abused as a child to a drug riddled adult life in poverty and the tragic results that followed. Losing her children due to neglect, Melissa’s life continues to delve deeper downwards. The interviews with her children who were sent to foster care are devastating as they all believe in her innocence and claim that the investigation and trial weren’t carried out properly. Van Tassel seeks to expose the defence that was left out of the investigation, showcasing the different angles and sides to the case and painting a picture that wasn’t taken into account. The footage of police using various tactics to get Melissa to confess is particularly difficult as it shows the mental anguish and breakdown until she eventually does admit to beating her. Having spent hours without water  food or a bathroom break, she is manipulated by the police force. Recollecting the experience, Melissa explains this breakdown giving a commentary on the footage.

Her trial also showcased many injustices such as evidence that was set aside and politicians using the case to assist with his electoral campaign. Lucio’s 9 year old son saw Mariah fall down a large flight of stairs as confirmed in a video interview but he was not brought to speak at the trial. Van Tassel incorporates home footage as well as footage taken from outside the house showing their now derelict home. Outside the home is a long broken flight of stairs were Mariah fell and Van Tassel constantly revisits that shot so it doesn’t leave the audience’s mind throughout. It is clear that Lucio was being used a political pawn in the duration of her trial. Her lawyer doesn’t allow the children to testify due to the potential that they could be manipulated but this is clearly a misjudged step as some of her children witnessed the incident. There was no attempt to contact her family or friends to testify which makes you question the motives of the defence team. Whether or not Lucio is guilty cannot be known from the trial alone as she was not given the fair trial she was entitled to.

Overall, The State of Texas vs Melissa is a powerful and harrowing documentary that shows the tragic consequences that rippled from a devastating childhood. It will linger with you long after the credits roll. What Van Tassel does is investigate what could have happened and exploit the misjustices that occur against minorities in the justice system. Even though the trial took place over a decade ago, it is clear that these issues are still relevant today. Van Tassel helps to shine a light on this topic.

The State of Texas vs Melissa is showing at Raindance Film Festival.

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London Film Festival 2020: One Man and His Shoes

The only documentary I have seen in the festival thus far, One Man and His Shoes is the debut feature documentary from Yemi Bamiro. The film follows the rise of Michael Jordan’a relationship with Nike and the creation of the Air Jordans in the 1980s and how they have created a trend for extremely expensive and exclusive trainers that exists today. Without any input from a Nike representative or Jordan himself, Bamiro creates a well-rounded view of the Air Jordan history by interviewing people who worked at Nike, experts in sport marketing as well as people who have large Air Jordan collections. This gives the view from the starting point those who helped conceptualise the brand all the way down to the release of the shows the customers who purchase the product.

The documentary provides an outlook on society as a whole in regards to the American political state in the 1980s which was deeply conservative and ran by President Ronald Reagan. There was much disturbance and discourse to those who were working class and people of colour because the discrimination against them was growing and so vast that they began to rebel in their own way. When the Air Jordans were banned from the NBA, they became a hugely desired item in the streets because they were a form of protest. As Jordan’s success grew as a basketballer, his marketing with Nike also grew more aggressive. The drive to promote the Air Jordans plus the ban the NBA imposed resulted in a huge public spectacle on its release. People lining the streets and waiting for hours just so they could get a pair. Nothing like this had happened before with shoes and it shows the power of a successful marketing campaign. The significance of Jordan also being a black man with such a huge fan base cannot be ignored. Coming from humble beginnings, he is a figure that a lot of people can look up to and having a pair of the Air Jordans could make them feel like they have a slice of the American Dream.

The second act of the documentary then goes into how Jordan and Nike’s relationship originated and the huge success into how the shoes were marketed. Jordan was everywhere in the 80s as he had a lot of collaborations with various companies but his work with Nike was by far the most popular and resonated most with the customer. One of the most successful marketing campaign was Spike Lee’s adverts for the Air Jordans. Starring Lee as his character Mars Blackmon from She’s Gotta Have It and Jordan in a bid to make the product more relatable to the consumer. Lee’s filmography had begun to build traction and Jordan was a rising star in his sport so it made perfect sense. Also, the genius of unsporting humour into the adverts makes Jordan appear to have that All-American appeal. The adverts in themselves became an event with audiences excited to see what the new one would bring.

The final act of the film discusses the loss that has occurred since the release of the Air Jordans. The build up from the first hour of the documentary makes it seem as though the Air Jordans are a final product of the American Dream with the idea that Jordan’s basketball playing was enhanced by the shoes. However, it turns out that there is a dark side to the exclusive nature of the Air Jordans. Looking into the case of a young man who was fatally shot because of the new Air Jordans, his mother and sister recount the tragic event and it is during this segment where the disconnect between business and consumer becomes clear. Jordan sent the family some new shoes after the murder but they feared wearing them in case they too were killed for them. It seems extreme that people would go this far for something as materialistic as shoes but the documentary suggests that this is in part due to the aggressive marketing by Nike that is both promising but also exclusive. By stocking limited quantities in shops, it drives the desirability right up and contributes to the collectible aspect.

What One Man and His Shoes does so well is show how clothing and accessories can actually be used as a form of protest as well as expression. The Air Jordans initial ban in the NBA is what made them desirable to those who are anti-establishment. It also shows the disconnect between the corporation and the damage that can be caused because of the exclusivity that Nike markets the Air Jordans as. Their silence over the unfortunate incidents shows that despite encouraging people to use their voice and unite in their adverts, they don’t want to be linked to the murders and injuries occurred in acquiring the shoes. What Bamiro does so well is present that balance between a huge achievement in marketing and inspiration and the costs that that brings. It’s a documentary that will resonate with a lot of people for its look into fashion, sports and history with the societal backdrop. Bamiro uses every second of the film’s 83 minute running time with effect.

One Man and His Shoes is showing at the BFI London Film Festival on 13th October and is available until 16th October.

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Grizzly Man (2005)

This documentary by Werner Herzog follows bear enthusiast Timothy Treadwell, as he dedicates his life to protect the bears in The Grizzly Maze in the Alaskan reserve. The footage of Treadwell was self-recorded as he wanted to display the kinship he felt between himself and the bears in a way to promote awareness for wildlife protection and leads up to the tragic death of Treadwell and his girlfriend Amie Huguenard. Grizzly Man combines this footage with interviews from family, friends, associates and those involved with the aftermath of his death with Herzog bringing life to Treadwell beyond his love of bears. In true Herzog fashion, his interviewing is thoughtful, unafraid to share his own theories and opinions but allowing the viewer to conclude whether they believe Treadwell was in the right or wrong.

Treadwell was 47 years old when he had finished his 13 summer or “expedition” protecting the bears in The Grizzly Maze from poachers when he ended up staying longer due an issue with his flight ticket back to California. It was during this prolonged stay that he and girlfriend Huguenard met their horrific and gruesome end. The bears thay Treadwell was familiar with had gone into hibernation and wilder, unfamiliar bears had moved in from other areas of the park. It is an aggressive 28 year old bear tagged 141 that would prove to be the end for Treadwell and Huguenard. The description from Willy Fulton, the pilot who saw the dismembered bodies from his aircraft, rangers who were tasked with hunting the bear who killed them and the coroner who examined the bodies all give a description of one of the most upsetting and graphic deaths imaginable. The opinions on Treadwell differ from Fulton’s claim that Treadwell would not have wanted the bear to be killed for his murder to the ranger stating that he shouldn’t have been out there at all and he had it coming. Both extremes make the film difficult to watch as Treadwell’s goal was to show that the bears are harmless but in the end, a desperation for food and territory spelled out his demise.

One such scene that is haunting is when Herzog listens to the audio of Treadwell and Huguenard’s death as the lens cap on the camera had not been taken off. We don’t see Herzog’s face as he is conducting an interview with Treadwell’s ex-partner, Jewel Palovak, who allows him to listen to the footage despite never having listened to it herself. We the audience do not get to listen to this footage and despite not seeing his face, we sense the unspeakable terror and horror that Herzog is feeling while listening to it. Herzog, clearly disturbed, requests to stop listening after a minute or so of the six minute footage and advises that Palovak destroy the footage. It will be “like an elephant in the room”, haunting her for the rest of her life.

Another scene that is just as jaw-dropping is one where Treadwell captures footage of an extremely graphic fight between two alpha male bears who are fighting to see who will mate with the prime female. It is a harrowing scene that sees the bears seemingly fight to the death as they claw and bite away at each other. Aside from showing the true nature of bears and feeling terrified for Treadwell who is only a few feet away from this, it makes for a truly remarkable piece of cinema. It is footage that I imagine every nature documentarian dreams of capturing. It feels that at this point in the film, the agitation and aggression in the bears is slowly reaching its boiling point and the risk for Treadwell and his life lingers even heavier than before. This display of nature is very different to the one portrayed during the midsummer months.
As stated before, Grizzly Man is a documentary that is more than one man’s love for bears. It is a look into human nature itself and questions whether man can truly get along with any species. Treadwell firmly believes that by acting like a bear, he will be treated as such and lives for 13 summers amongst them unarmed. The footage from Treadwell shows his strong passion for the bears and wildlife as he mourns the death of every creature he finds such as a fox cub and even a bee but then switches to a rage of insults towards insult at the government bodies responsible for the preservation of these animals. His anger goes beyond articulation and turns into a swarm of swear words and lasts a long time, Herzog showing us the full takes. It makes Treadwell an unpredictable and at times uncomfortable subject but engaging all the same.

Another interesting perspective from this documentary is the obsession with image that Treadwell seemed to have. Filming multiple takes of simple actions such as running through a bush wearing a different colour bandana in each one so producers could decide what image they like for a show when Treadwell hands in the footage. Despite this, he dismisses the ideology of celebrity throughout and despises the idea that people may hunt him out in the reserve for a story. Herzog’s interviews discover Treadwell’s attempts to break into the film and television industry, even coming second to Woody Harrelson’s role in Cheers. It was losing the Cheers role that caused him to spiral out of control and contributed to a near fatal overdose. This then triggers questions of whether the rejection propelled him to reject the human race and focus on nature and wilderness.

This documentary is not for the faint of heart with multiple images of dismembered limbs from both bears and humans, it is hard to stomach the reality of the danger that Treadwell was in on a daily basis. The result, however, is a rewarding and haunting piece of cinema that asks questions and allows its viewers to conclude with their own answers. Herzog proves himself to be one of the masters of his craft by allowing himself to continuously be the outsider, deciding to hide his face off camera and even praising Treadwell’s filmmaking skills. It’s a documentary that gives Treadwell’s life and work a legacy that goes beyond his death by showing his footage with no bias beyond it.

Grizzly Man is available on Amazon Prime at the time of writing this review and I hugely recommend that you give it a watch. Uncomfortable and upsetting but thoughtful and provoking.

Have you seen Grizzly Man? Let me know what you think in the comments below!