The Traveller [1974]

 The Traveller, Abbas Kiarostami’s second full-length feature – or first, depending on whether you consider his evocative and poetic preceding work The Experience as one – was an absorbing, madcap and quixotic paean to childhood and adolescence. It was, in turn, the Iranian master’s love letter to a kid’s impudence, exuberance and non-conformism, which’re invariably bound to be heavily frowned upon by adults and viewed as reckless folly and insubordination. What the movies represented for Antoine Doinel in François Truffaut’s unforgettable The 400 Blows – as much a brewing passion and a beautiful dream as a means for adventure and escape from the dreariness of existence – football played that role for this film’s impish, 12-year-old pint-sized dynamite Qassem (Hassan Darabi). Obsessed with the game, he freely disobeys his desperate parents and dogmatic teachers to play football in the alleys with his buddies. His obsession reaches a state of monomania upon deciding to embark on the seemingly crazy quest to collect enough money to sponsor a trip to Tehran and catch a game of his favourite team at Azadi Stadium. He demonstrates exceptional doggedness, ingenuity and resourcefulness, and freely crosses ethical quandaries to fund his odyssey – including, in arguably the film’s most memorable segment, taking money from kids and their parents by staging a fake photoshoot using a broken camera – with the help of his loyal friend Akbar who truly wants Qassem to succeed. Shot in grainy B/W with a blend of frenetic energy, playful irony and empathy, and with storytelling flair vividly complemented by documentary realism, this was a joyous act of solidarity against stifling impositions and restrictions, while the insouciant, irrepressible and rebellious kid remains an indelible creation in Kiarostami’s oeuvre.

Director: Abbas Kiarostami

Genre: Comedy/Slice-of-Life

Language: Persian

Country: Iran

The Experience [1973]

 Abbas Kiarostami’s gently observational feature-length debut The Experience – produced by the filmmaking department of ‘Centre for the Intellectual Development of Child and Adolescent’ (“Kanoon”) that he’d helped found – was informed by the neorealist form, Iran’s social realist milieu, and Kiarostami’s deep empathy for nonconformist kids and adolescents living in the margins, for a tender, impish and poetic subversion of the ‘poor boy falls for rich girl’ trope. Gorgeously photographed in richly composed B/W frames, with images often shot through glass panes which gave them a subtly voyeuristic quality, we follow a day and a half in the life of an impoverished teenager whose dreams add a sliver of hope and escapist joys into his tough Dickensian existence. The orphaned Mamad works as a lowly factotum in a photography studio – serving tea, brooming the floors, assisting with developing the negatives – where he also sleeps at night. Though constantly scolded by his middle-aged employer, more so when he indulges in acts of pubescent naughtiness by creating a cut-out from a signboard featuring an attractive model, he keeps getting drawn towards small acts of playfulness and rebellion. He’s also, in the meantime, become enamoured with a lovely girl slightly older to him; she’s far beyond his social station, but that doesn’t stop him from blushing at her sight, or day-dreaming about her, or crafting a little plan to get closer to her. He's therefore the quintessential Kiarostami kid who’ll indulge in bolder and more reckless displays of mischief and disobedience in the magnificent run of films that he’d make featuring young actors. This delicately-strung work, incidentally, was nearly devoid of any dialogues, which made it all the more affecting, meditative and impressionistic.

Director: Abbas Kiarostami

Genre: Drama/Social Drama

Language: Persian

Country: Iran

Ten [2002]

 Ten – Abbas Kiarostami’s first film shot entirely in digital – formed a clear companion piece to his much-lauded Taste of Cherry from a structural standpoint, as both films comprised only of conversations inside a moving car between a person driving the vehicle and various people joining in the front passenger’s seat, and eschewed conventional narrative arcs in favour of fly-on-the-wall approaches. However, while the earlier film was a sombre dive into existential inquiries and moral quandaries, the latter may well remain the Iranian maestro’s sharpest political expression, as well as his most radically stripped-down tableaux. This engrossing and episodic docufiction set in Tehran – a chamber drama, if you will, in how it’s rigorously confined within a car and shot using two dashboard-mounted cameras – captured, through ten vignettes, the interactions between a beautiful, confident and fiercely modern woman (played with irresistible self-assurance by Mania Akbari), who’s always seen driving, and five different passengers, viz. her petulant son (played by Akbari’s real-life child Amina Maher) who’s angry with her for having divorced his father, her elder sister facing marital crisis, a delicate young woman jilted by her fiancé, a prostitute who uninhibitedly shares her opinions on the hypocrisy of men and idiocy of their wives, and a religious old woman. Kiarstoma’s belated answer to an Iranian critic’s question to him on the possibility of making films on independent and working Iranian women – repurposed from an earlier idea of a psychologist conducting her sessions in a car on account of renovations at her workplace – blurred the lines between private and public spaces through these nakedly intimate and free-flowing conversations that touched upon patriarchal norms, gender identities, cultural mores, societal impositions, and feminist assertions.

Director: Abbas Kiarostami

Genre: Drama/Road Movie/Experimental Film

Language: Persian

Country: Iran

Taste of Cherry [1997]

 While Abbas Kiarostami’s films evolved over two broad phases –exuberant early films centred on gently rebellious kids and teenagers living in the margins, and engrossing subsequent ones revolving around cerebral middle-aged outsiders – three facets remained largely intact. His protagonists were nearly always moving, fiction and non-fiction elements would frequently bleed into each other, and his impish love for formal subversions. All were on display in Taste of Cherry, the first Iranian film to win the Palme d’Or. The entire length of this minimalist, melancholic and quietly moving work involved Mr. Badii (portrayed with stoic restraint by Homayoun Ershadi, who was discovered by Kiarostami at a traffic jam) driving his Range Rover through alternately grubby and ravishing landscapes outside Tehran over a single day. With no backstory on offer, all we know is that he’s suffering from a great despair and wants to commit suicide; however, as that’s forbidden by Islam, he’s looking at paying for someone’s services to check if his act has been successful, and to then bury him at his chosen spot. Over the course of the meandering roads and discursive narrative, he converses with three individuals who provide very different responses to his ask – a Kurdish teenager, who’s just joined the army, flees in fear; an Afghan seminarist tries reasoning, before declining; and a ageing Turkish taxidermist (Abdolrahman Bagheri), who understands Badii’s existential crisis and reluctantly accepts the job, but tries dissuading him through a blend of philosophical reflections and storytelling. Stunningly shot with a mix of wide-angled shots and close-ups, and bereft of non-diagetic sounds, the film ended with a remarkable rupture of the fourth wall, with low-fi camcorder accompanied by a Louis Armstrong score.

p.s. This is a revisit. My earlier review of the film can be found here.

Director: Abbas Kiarostami

Genre: Drama/Psychological Drama/Philosophical Drama/Road Movie

Language: Persian

Country: Iran

Twin Peaks: Fire Walk with Me [1992]

 David Lynch’s arresting prequel to Twin Peaks – greenlighted after the show was cancelled, and which massively polarized everyone upon its release – couldn’t have been more radically different from the television series. While the first two seasons were splashed with cute Americana, despite the outrageous events that unfolded, the film was edgy, visceral, grungy, nightmarish and enthralling. The two together, consequently, reminded me of three of his films – Blue Velvet, Lost Highway and Mulholland Drive – in how they’d juxtaposed idyllic exteriors with grotesque underbellies. The film, which evoked a suburban purgatory through disturbing depictions of abuse behind closed doors and monsters inside the closets, took the viewers into the turbulent life of Laura Palmer (Sheryl Lee) leading to her vicious murder that the series began with. It, incidentally, kicked-off with a MacGuffin involving two FBI Agents – Chester (songwriter Chris Isaak) and Sam (Kiefer Sutherland) – investigating Teresa Banks’ brutal murder that the show had referred to. The narrative, subsequently, dove into the final seven days of Laura – a beautiful high-school student who everyone admires, but whose secret double life is spiralling out of control, exacerbated by the assaults she’s been facing at the hands of her obsessive father Leland (Ray Wise) who’s possessed by the malevolent spirit of Bob, cocaine addiction, wilful prostitution, self-destructiveness and intense trauma – leading ultimately to her tragic end. The film’s most gripping sequence took place in a grimy underground pub – accompanied by a loud, jangling and addictive score – where the tortured heroine, along with her best friend Dona (Moira Kelly, replacing Lara Flynn Boyle who didn’t reprise her role) are swept into a netherworld where three leery middle-aged men take advantage of the two underaged girls.

Director: David Lynch

Genre: Horror/Psychological Thriller/Crime/Mystery

Language: English

Country: US

Twin Peaks [1990-91, 2017]

 Twin Peaks – the surrealist, grisly, horror, mystery, campy and goofy soap opera that David Lynch co-created with Mark Frost – was a surprise hit when it premiered in 1990, and became a pop-culture phenomenon with a cult following despite its eccentric, outlandish and bizarre plot elements. The first season – arguably the highest-point in the series – opened with the murdered body of the beautiful but troubled high school student Laura Palmer (Sheryl Lee) in the tranquil town of Twin Peaks. It followed, on one hand, the murder investigation led by the incorrigibly optimistic and doggedly persuasive FBI Agent Dale Cooper (Kyle MacLachlan) supported by the local Sheriff, and on the other, the private affairs, sly ploys and nefarious machinations of the town’s offbeat residents which included corrupt businessmen, impassive cops, mad psychiatrists, punks, drifters, and striking damsels (Lara Flynn Boyle, Sherilyn Fenn, and Joan Chen), along with teasing forays into alternate realms. The longer second season concluded the investigation, and then took the plot forward. With the broader narrative scope, it succeeded in being more playful, madcap and adventurous, while also stepping the gas too much on occasions on silly humour and psychedelic excesses. Though the second season ended on a cliffhanger note, and Lynch followed it immediately with the gripping prequel feature Twin Peaks: Fire Walk With Me, it was a whopping 2 ½ decades before a much-awaited third season finally arrived. Largely bereft of the campy Americana and soap opera elements of the earlier seasons, this alternately arresting, ingenious and exasperating season – filled with multiple parallel plots, interludes and detours, alongside both returning and new cast members – took the narrative forward, backwards and sideways into a bonkers, mind-bending trip.

Director: David Lynch

Genre: Series/Crime/Mystery/Comedy/Horror/Thriller/Drama

Language: English

Country: US

The Godfather Part II [1974]

 The Godfather wasn’t just scintillating cinema, it was a smash hit too. Francis Ford Coppola, consequently, got a free-hand for the follow-up, and he expanded the tapestry into a breathtaking saga which was broader and richer, as well as darker and edgier. He leveraged unutilized sections from Mario Puzo’s titular novel covering the past – beginnings and rise of a young Vito Corleone (Robert De Niro) – while simultaneously taking the principal narrative centred around Michael Corleone (Al Pacino) forward as he accelerates his chilling spiral – driven by the Machiavellian quad of power, capital, corruption and violence – which he’d embraced in the previous film. The second part, therefore, was both an adapted prequel and an original sequel backed by a sprawling script. While Vito’s journey was laced with warmth and was driven by memories of Sicily, familial loyalty, bonds he forged with fellow Italian-Americans, and street-smarts, making the flashback sections an elegiac immigration story, Micheal’s was colder and harsher as he displays a terrifying ability to outsmart his rivals and terminate anyone who offends him, propelled by his ruthless cunning and an absolute inability to forgive. Thus, as he battles the duplicitous Hyman Roth (Lee Strasberg) and antagonistic politicians, he also gets into shattering conflicts with his simple-minded elder brother Fredo (John Cazale), his profoundly disenchanted wife Kay (Diane Keaton), and hot-headed old-timer Frank (Michael V. Gazzo). While the film – aided by Nino Rota’s haunting score – abounded with stunning performances, Pacino’s stood out as one of devastating ferocity which made Michael’s character simultaneously arresting, volatile and diabolical; his interactions with Fredo were particularly unforgettable. The film, incidentally, also painted a captivating time-capsule of Cuba as it transitioned from Batista to Castro.

p.s. This is my latest revisit of this film. My earlier review can be found here.

Director: Francis Ford Coppola

Genre: Crime Drama/Gangster/Family Drama/Epic

Language: English/Sicilian

Country: US

The Godfather [1972]

 Right from its magnificent and elaborately staged opening sequence – featuring the boisterous wedding party of the daughter of formidable Sicilian-American “Don” Vito Corleone (Marlon Brando), intercut with the mafia boss bestowing extra-judicial favours – The Godfather established itself as a work of mythic ambitions and immersive power. Adapted from Mario Puzo’s bestselling novel of the same name, this became a remarkable turning point for Francis Ford Coppola – who agreed to direct it because he was struggling with debts – as he went on an incredible four-film run the kind of which is rare in world cinema. This epic tapestry on the warped honour codes, complex familial bonds, elemental forms of justice and retribution, and the unholy marriage of harsh Sicilian mores and brash American capital, was gloriously evoked through its sprawling length, brilliant ensemble cast, mix of leisurely plot developments and stunning brutality, majestic cinematography and score (by Gordon Willis and Nino Rota, respectively), and a gripping peek into the closed world of organized crime that gave a bold new direction to both the gangster genre and immigrant story. The operatic tale of a once powerful patriarch passing his reigns to a reluctant heir – Micheal Corleone (Al Pacino) – and the latter’s conversion from someone who’d embraced a civilian life into an incarnation of chilling ruthlessness, was further enriched by its array of supporting characters (featuring James Caan, Robert Duvall, Diane Keaton, John Cazale, Sterling Hayden, etc.), plot detours, unforgettable set-pieces, and dark social and political commentaries. Coppola’s fiendish spins on life’s supposed conventionalities – marriage, friendship, family gatherings, religious occasions, etc. – made it especially engrossing, and which he expanded into an even grander dimension in the magisterial sequel The Godfather Part II.

p.s. This is my latest revisit of this film. My earlier review can be found here.

Director: Francis Ford Coppola

Genre: Crime Drama/Gangster/Epic/Family Drama

Language: English/Sicilian

Country: US

One Battle After Another [2025]

 Reworked from Thomas Pynchon’s Vineland – making this his second Pynchon adaptation after Inherent Vice – One Battle After Another was P.T. Anderson at his most thrilling and sardonic. Alternately goofy and gritty, laidback and bristling with urgency, facetious and serious, politically informed and riotously entertaining, the film heavily reminded me of Jean-Patrick Manchette’s radical and anarchic neo-polar comedy-thriller novels; it also bore imprints of the Coens’ insouciant absurdism, and Friedkin and Peckinpah’s muscular actioners, thereby blending elements of left-wing political thrillers (a sub-genre that’s largely vanished) with black comedy, action, chutzpah and rollicking fun. In an extended prologue, we’re introduced to the far-left groupuscule ‘French 75’, that’s led by the fiery revolutionary Perfidia (Teyana Taylor); her boyfriend Bob (Leonardo DiCaprio), an explosives expert, stands out as a misfit white guy in this outfit engaged in guerilla rebellion against the establishment. During a mission to free detained immigrants, she teasingly humiliates the comically twisted and reactionary military officer Lockjaw (Sean Penn), who becomes fixated on her despite his hatred for back people, while simultaneously massacring the group. 16 years later, Bob is now a washed-out stoner who lives off-the-grid with his feisty teenage daughter Willa (Chase Infiniti). His past, however, catches up with him when Lockjaw – wishing to rectify past interracial transgressions to protect his membership in an exclusive white supremacist club where racial purity is sacrosanct – decides to liquidate Willa under the garb of busting illegal immigration. What ensues is pure pandemonium, and an elaborate chase sequence that transitioned from the farcical to the visceral, accompanied by a terrific, jangling score by Jonny Greenwood. The excellent cast also included Benicio del Toro as a deadpan leader of an undocumented community.

Director: Paul Thomas Anderson

Genre: Thriller/Comedy/Political Thriller/Black Comedy/Political Satire/Action

Language: English

Country: US

As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty [2000]

 Jonas Mekas’ magnum opus – with a title that mirrored its achingly intimate self-expression, moving tone and expansive length – both underpinned and subverted the idea of experimental filmmaking. At close to 5 hours runtime, it was his longest film; that, along with its fragmentary, loosely-strung, collage-like nature, bereft of any narrative patterns or pay-offs, and unhurriedly paced, emphasized its alternative form. Covering a staggering 30 years – from 1970 to 1999 – it was also the most monumental diary film of his career. That said, it was plaintive, lyrical, effervescent and self-effacing – a “masterpiece of nothing” in his words – which imbued it with joyous simplicity and accessibility. Forming an unintended New York triptych along with Walden and Lost, Lost, Lost – and ‘Diary of an Exile’ tetralogy of sorts when one also includes Reminiscences of a Journey to Lithuania – this was a home movie in the purest sense as it captured moments that weren’t just autobiographical but also profoundly personal. Composed of a vibrant flurry of 16mm footage shot primarily in New York City but also elsewhere in the US and Europe – which he then assembled in a randomized order (as opposed to chronologically) – it’s lovingly centred on his vivacious wife Hollis, their cherubic daughter Oona and their son Sebastian. These three individuals and the memories they shared – daily life in their Manhattan apartment and outside, lazy Sundays at Central Park, noticing his children’s first steps, celebrating birthdays, loving moments with his wife, playing with his pet, experiencing new places, observing seasons change – represented paradise for him. These laced this exquisitely poetic memoir and most unassuming epic – accompanied by Mekas’ lilting narration and a wistful score – with radiance, melancholy and a gossamer-like delicacy.

Director: Jonas Mekas

Genre: Documentary/Diary Film/Essay Film/Experimental Film

Language: English

Country: US

Reminiscences of a Journey to Lithuania [1972]

 Jonas Mekas’ poetic and profoundly personal 2^nd feature-length diary, made 4 years after the sprawling and absorbing Walden, formed a vital companion piece to his spellbinding next diary – and possibly his greatest masterpiece – Lost, Lost, Lost. In the latter, he’d powerfully evoked his finding a new habitat and home as an émigré and displaced person. This, conversely, chronicled his brief trip back to his erstwhile home which he was compelled to leave forever many years back. After over 2 ½ decades of leaving Lithuania with his brother Adolfas – they’d left in 1944 and emigrated to the US in 1949 – they were finally able to visit the village of Semeniškiai, the place of their birth and formative years. It began with a short preface that comprised of footage shot on his first Bolex during his initial years in America. The central segment, titled “One Hundred Glimpses of Lithuania”, was a syncopated montage – a simultaneously playful and evocative collage shaped through varying film speeds, exposures, colour palettes and camera motions – which took us into that agrarian, impoverished and sparsely populated village, the rickety house where they lived, their aged mother who likes to cook outdoors, their gregarious relatives who frequently drop by, and the villagers who love dancing and drinking. The high-spiritedness transitioned into bitter melancholy in the epilogue that captured their visit to an establishment in Elmshorn – a town on the outskirts of Hamburg – which’d served as a labour camp during WW2 and where they were interred for nearly a year. Mekas, incidentally, interlaced the film with oblique social/political observations, while cheekily remarking, “You would like to know something about the social reality… but what do I know about it?”.

Director: Jonas Mekas

Genre: Documentary/Diary Film/Essay Film/Experimental Film

Language: English

Country: US

Walden: Diaries, Notes and Sketches [1968]

 Jonas Mekas – towering godfather of American underground cinema and pioneer of diary films – made a momentous feature-length debut, composed of ecstatically shot “haikus” or short reels, with Walden. At once epic, pulsating, freewheeling, elegiac and intimate, he made this 3-hour kaleidoscopic work by stitching together a dazzling blend of encounters, moments, happenings, portraits, events and experiences, that he shot from 1964 to 1968 using 16mm Bolex camera – his comrade of 50 years from 1950, when he purchased his first Bolex upon arrival in the US as a displaced person, through to 2000 when he finally switched to digital – via an intensely subjective lens. With its title borrowed from Thoreau and imbued with Cartesian spirit – “I make home movies, therefore I live” – it was particularly remarkable in its capturing of a vital period in New York’s trailblazing art and culture circuit, as we see gatherings featuring Allen Ginsberg, the Velvet Underground’s first performance, fellow avant-garde filmmaker Stan Brakhage at his getaway mountain cabin, Carl Theodor Dreyer’s visit to the city, John Lennon and Yoko Ono carrying out their radical 1969 “bed-in”, etc. Mekas alternated these with moments embodying 1960s zeitgeist – e.g. street protests by a feminist group and African-American construction labourers spotlighted as “back power” – as well as kinetic bursts of “pure cinema” – observational shots of streets and Central Park, an ecstatic montage on a circus, etc. – and even some anachronistic wedding sequences. These protean images – possessing different colour tones, frequently overlapping and often at accelerated speeds – were accompanied by an eclectic audio track which ranged from jazz riffs to throbbing percussive sounds that he mixed by playing his vinyl records and radio, and occasionally also his lilting, chirpy voiceovers.

Director: Jonas Mekas

Genre: Documentary/Diary Film/Essay Film/Experimental Film

Language: English

Country: US

Lessons of Darkness [1992]

 Werner Herzog’s hypnotic essay Lessons of Darkness was an assemblage of two strikingly contrasting facets. It was an intensely grim and fatalistic meditation on warfare, carnage, the abyss of human folly and madness, and their infinite capacities for cruelty. This bleak meditation was accompanied by spectacular aerial photography of the ecological disaster wrought upon by the 1991 Gulf War, and these were made even more viscerally arresting through slow-mo shots, long takes, Herzog’s distinctively clipped style of speaking, and grand Wagnerian score. This, therefore, was akin to an apocalyptic tone poem on derangement and destruction by a filmmaker who’s been classified as a “poet of doom”. No wonder, some viewers were offended by it upon its release – alleging that this was akin to aestheticization of wars – and which Herzog angrily countered by quoting examples of Hieronymous Bosch and Goya who’d also made breathtaking artistic works foregrounded on violence and grotesquerie. Broken into thirteen short chapters, the moody docu shows us scarred and damaged landscapes, and in particular nightmarish images of the Kuwaiti oil fires, albeit largely without any political or geographical contexts. In his typically ironic tone, he even shows us how the expert fire extinguishing team reignited the fires – by throwing torches into the gushing oil flows – so that they have something more to extinguish. These flamboyant, widescreen and “obscenely beautiful” vistas were briefly interspersed with sobering chronicles of torture and trauma experienced by the locals, and shared by a couple of women. The film’s ominous undercurrents, vivid abstractions, and counterpointing of sparse and lurid expressions made it a fitting member of the German filmmaker’s oeuvre that’s filled with similar exercises across both narrative fictions and essayistic nonfictions.

Director: Werner Herzog

Genre: Documentary/Essay Film/War

Language: German/Arabic

Country: Germany

Prison Images [2000]

 If seeing, prying and witnessing were the running motifs in Harun Farocki’s filmography, then his analytic video montage Prison Images can well be his most emblematic work. Through this hour-long essay, he delved into a pointed examination of the carceral society through images of prisons from two parallel streams – viz. representation of prisons in cinema, interspersed with actual camera footage from American prisons. While he sourced sequences from multiple films for the former, two particularly stood out in their imagery – Jean Genet’s unnerving Un Chant d’Amour, where the prisoners adopt performative roles for the gratification of guards peeping into their cells, and Robert Bresson’s masterful A Man Escaped, where the protagonist meticulously stages an escape – as these two thematic tropes have recurred in countless films. These were juxtaposed with CCTV camera footage, and the message underpinning them was one of power, control, and the transformation of societies into surveillance states. In a mordant comparative analysis, Farocki posited that prisons, departmental stores and shopfloors are bound by their shared obsession with endless surveillance both as a means and an end. We therefore see how inmates are made to wear tracking devices so that their every movement can be monitored and inspected. In the essay’s most disturbing sequences, we see footage of how the authorities deliberately instigate prison fights – e.g. by placing antagonistic groups or inmates in closed spaces – and then stopping them through violent means. Through these, the Marxist director’s disdain for what prisons embody was unequivocally evoked. Hence, though not expressed in as many words, the underlying tenor was emphatically analogous to Joan Baez’s battle cry “raze the prisons to the ground” in her powerful protest song ‘Prison Trilogy’.

Director: Harun Farocki

Genre: Documentary/Essay Film

Language: German

Country: Germany

Images of the World and the Inscription of War [1989]

 The German word “Aufklärung”, as Harun Farocki informs in this intellectually rigorous meditation and exceptionally dialectical video essay, means both “enlightenment” and “reconnaissance”. This paradoxical implication intrinsically informed the work and what it posited – viz. scientific reasoning and technological progress are intimately related to the military-industrial complex and warfare. The specific technology under Farocki’s forensic investigation, here, was that of photography, and in turn a branching into how perception of an image and the contexts and meanings that one infers from it, are heavily influenced by what we’re trying or intending to see. These complex aspects were clinically evoked, principally, through the examination of an aerial photograph of the IG Farben industrial plan that was taken by an American aircraft in 1944, as a precursor to bombing it (though that wasn’t ultimately carried out). It was only 30 years later that 2 CIA analysts realized that it had also captured the Auschwitz extermination camp – the barracks, gas chambers, crematoria and even trucks delivering poison pellets disguised as a Red Cross vehicle – but which remained a “blind spot” until then. Hence, if the American bombers had destroyed IG Farben it, ironically, wouldn’t have been for its role in the Holocaust. The essay also covered enquiries into surveillance and camouflage – from WW2 to police identikits – which makes images inherently political and induces image manipulations. In perhaps the film’s most haunting moment, Farocki showed an inmate at a Nazi concentration camp – a beautiful woman – instinctively striking a pose for the camera. The docu was especially fascinating in the massive ground covered in its slender length, and also how it turned out to be such a riveting work despite its highly analytic form.

Director: Harun Farocki

Genre: Documentary/Essay Film/War

Language: English

Country: Germany

Videograms of a Revolution [1992]

 Prolific experimental German documentarian Harun Farocki’s dazzling masterpiece Videograms of a Revolution, which he co-directed with Romanian documentarian and scholar Andrei Ujică, was both a riveting historical reconstruction of the 1989 Romanian Revolution and a powerful analytical thesis on the role of formal and informal media in both revealing and shaping political history. On the former aspect, its post-facto documentation of one revolution – one that, in around 5 days, witnessed Romanian dictator Nicolae Ceaușescu from getting ready to deliver what turned out to be his final public speech (the thrilling climatic moment in Bogdan Mureșanu’s The New Year That Never Came) to being executed after a summary trial – made it a fascinating companion piece to, on one hand, Patricio Guzmán’s The Battle of Chile and My Imaginary Country, which were immersive reportages of mass uprisings, and on the other Chris Marker’s A Grin Without A Cat, which was an expansive essay that navigated through multiple global revolts. As for the latter aspect, it underscored the role of cameras and images in mobilizing public actions and as sources for historiography. It accomplished that by meticulously piecing together those 5 days from a myriad sources which included state television broadcasts, which transitioned from Ceaușescu’s lackeys to those seizing control, and ‘found footage’ secretly shot by citizen journalists that Ujică had unearthed through his contacts. Accompanied by a narration analysing and interpreting these images, thus creating a distancing effect from the immediacy of the upheaval, this magnetic work strikingly elucidated how mass and alternative media had been both observers and participants in recording and constructing epochal political changes far before the advent of 24/7 television channels, mobile phone cameras and social media.

Director: Harun Farocki & Andrei Ujica

Genre: Documentary/Essay Film/Political History/Reportage

Language: German/Romanian

Country: Germany

Love Meetings [1964]

 Taking inspiration from Jean Rouch and Edgar Morin’s landmark cinéma vérité documentary Chronicle of a Summer, Pasolini crisscrossed Italy – from the industrialized north to the impoverished south, from bustling urban locales to relaxing beaches, from prestigious universities to crowded factories, from charming cafés to working-class neighbourhoods – accompanied by his camera, interviewing vast swathes of people, freely inserting himself into the frames, and shaping the conversations. Love Meetings, however, wasn’t just an Italian response to a pioneering French work. Pasolini, being the radical, interrogative and profoundly political intellectual that he was, brought in his uncompromising and insolent self into the mix, as he went about composing a fascinating essay about his fellow citizens’ complicated, conflicted and reactionary attitudes and mores related to sex in everyday life, and branching off to gender equality, homosexuality, prostitution and divorce (which was illegal at that time in Italy). What must’ve been deeply disappointing to Pasolini, nearly every male person he interviewed – old and young, well-off and poor, educated and not – expressed different shades of conservative and regressive mindsets; but what must’ve provided him cause to cheer, the women were oftentimes more liberal and open-minded. He therefore interspersed his indefatigable investigations with weary meditations with fellow intellectuals – celebrated novelist Alberto Moravia, psychologist Cesare Musatti, journalist Oriana Fallaci, actress Antonella Lualdi – on trying to make sense of what he heard, engaging in Marxist interpretations of social prejudices, and quipping on how the middle-class steadfastly refused to participate. That this was the 1960s – when Italy was rocked by social protests and political rebelliousness – made this a particularly ironic time capsule of that period. Curiously and amusingly, he followed this up with The Gospel According to St. Matthew.

Director: Pier Paolo Pasolini

Genre: Documentary/Cinema Verite/Reportage

Language: Italian

Country: Italy

F for Fake [1973]

 Orson Welles’ delightfully irreverent, discursive and playful film F for Fake – through its impish and exuberant celebration of fakery, chicanery and double bluffs – was one final act of wily chutzpah by the man who loved subverting boundaries. Conjoined with Abbas Kiarostami’s late-career masterpiece Certified Copy in their shared admiration for fakes and teasing questions on authenticity, while ironically being ravishingly original works themselves, it operated in the intersection of documentary, essay and hybrid – as it often blurred the lines separating non-fiction from fiction. It primarily focused on two fascinating charlatans who drew Welles to this film in the first place (François Reichenbach had initially planned to direct it, but happily became its producer instead). On one hand there was Elmyr de Hory, a master art forger who fooled renowned art galleries with his fakes thanks to his insouciance and brilliance; now retired, he’s settled at Ibiza where he regales his guests with wry anecdotes. Joining him was Clifford Irving, de Hory’s biographer, who then insolently walked in his subject’s footsteps by writing a fake “authorized autobiography” of Howard Hughes. Along with his infectious portraits on the two men – who he treated with undisguised fondness as fellow journeymen – Welles freely deployed the canvas for musings on how art, like magic, is an amalgamation of truth, lies, illusions and sleight of hand, and then proceeded to self-deprecatory reflections on his own journey as an artist – using false identities and fake stories, and even fictionalizing Howard Hughes in Citizen Kane – and, in arguably its most irresistible sections, amusing meditations and “stories” on Picasso. Captivatingly shot in grainy colours, it extensively featured his muse Oja Kodar in a series of sultry, shape-shifting personas.

Director: Orson Welles

Genre: Documentary/Essay Film/Social Satire

Language: English

Country: France

Monterey Pop [1968]

 The three-day Monterey Festival in 1967 was a watershed moment in the context of both popular music – in elevating the stature of pop and rock-and-roll as artforms and providing an enormous fillip for all future music festivals – and the 1960s counterculture movement that embodied the ideas of love, peace, communal living and non-conformism. D.A. Pennebaker, who’d pioneered the “rockumentary” with his seminal ‘direct cinema’ work Dont Look Back, established the enduring template for all future concert films – from the filming and editing styles to the look and atmosphere – with Monterey Pop, his exhilarating documentary on this phenomenal event co-organized by Lou Adler and the Mamas & the Papas front-man John Phillips, among others. It was only appropriate, therefore, that it began with infectious visuals of people streaming in, in their delightfully sunny attires and carefree demeanours, to the sounds of ‘San Francisco (Be Sure to Wear Flowers in Your Hair)’, the unofficial anthem for that age written by Phillips. Seamlessly alternating between rousing performers and enthralled audience as a distinctive formal choice, it covered 12 out of the 30+ artists who took stage, using 5 portable sync cameras operated by fellow documentarians Richard Leacock and Albert Maysles. The film’s most iconoclastic and indelible moments included The Who’s Pete Townshend smashing his guitar after ‘My Generation’, only for Jimi Hendrix, after an exceptionally risqué act, putting his on fire; stirring vocals by Janis Joplin and Otis Redding; and elucidation of the show’s international spirit through electrifying South African trumpeter Hugh Masekela, and the virtuoso Indian duo of sitarist Ravi Shankar and tabla player Alla Rakha Khan to whom the final 15 minutes – a whopping 19% of the runtime – were devoted.

Director: D.A. Pennebaker

Genre: Documentary/Musical/Concert Film

Language: English

Country: US

Dont Look Back [1967]

 D.A. Pennebaker’s trailblazing film Dont Look Back (the missing apostrophe was a conscious choice) – a landmark in ‘direct cinema’ and the first feature-length documentary on Bob Dylan – provided an intimate peek into the opaque, magnetic and mercurial persona of the iconoclastic poet, prophet and troubadour. Playfully operating at the intersection of music reportage, diary film, rockumentary and even a biographical essay in its intimate, unfiltered, behind-the-scenes portraiture, it had Pennbaker following Dylan – shot in grainy, gorgeous B/W using a customized, portable 16mm camera that he’d co-developed with compatriot Richard Leacock – through his 1965 England tour. The docu began with a legendary music video – one that was conceived by Dylan himself – featuring the songwriter presenting a series of cue cards bearing words and phrases from his song ‘Subterranean Homesick Blues’, while that plays in the background, and with poet Allen Ginsberg and folk singer Bob Neuwirth seen interacting in the industrial backdrop. While, over the course of the work, we get to see Dylan performing at different concerts, it’s primarily set inside hotel rooms and cars, at corridors and backstages, and with friends, reporters and strangers. What emerged, through these candid observations of moments and interactions, was a kaleidoscopic impression of an individual alternatively funny, gregarious, inspired, reflective, prickly, aloof and enigmatic. The film’s most memorable segments included his impromptu jams with Joan Baez, Donovan and Alan Price, taunting a Time’s correspondent, and bemused reactions upon being labelled an anarchist. Incidentally, though he was on the cusp of superstardom when it was made, by the time it eventually released two years later he’d released two seminal albums, had a motorcycle accident, switched to electric, married and become an unprecedented phenomenon.

Director: D.A. Pennebaker

Genre: Documentary/Musical/Diary Film

Language: English

Country: US

Welfare [1975]

 Frederick Wiseman weaved an extraordinarily multi-hued and multi-layered tapestry – a vivid, chaotic, complex, kaleidoscopic and microcosmic portraiture of diverse peoples connected by their desperation and struggles – in his monumental and quietly devastating documentary essay Welfare. With an expansive run-time of 167 minutes – which Wiseman pieced together from over 100 hours’ footage shot over a three-week period – this sprawling work captured the workings within the massive welfare office in NYC that made me feel stationed amidst the crowd within this bustling set-up. On surface, it served as an intricate examination into this institution, as helpless and anguished claimants hope to have their meagre requests – in nearly all cases the last resort before losing their shelters, going without food, being deprived of the last vestige of dignity and even considering to end it all – approved by the workforce governed by doubts, rules, policies and indifference, with just the hint of empathy on occasions. What emerged from the evocative vignettes – interactions both polite and furious – was a sobering and painful report on personal and collective despair, ranging from unemployment, homelessness and destitution, to debilitating medical difficulties, domestic abuse and familial estrangements, to severe marginalization, systemic discriminations and abandonment by the state. Hence, despite never overtly intending to, Wiseman ended up presenting a Kafkaesque bureaucracy that’s simultaneously nightmarish and absurdist, and a disconsolate commentary on societal apathy. The loosely edited work allowed ample time for each interaction to unfold – involving a vagrant couple, an ex-convict, a German immigrant, vulnerable middle-aged women, an angry daughter, a former teacher forced into becoming a petty thief, a racist war veteran, an equanimous Black cop – and made this an astonishingly vital impression of 1970s New York City.

Director: Frederick Wiseman

Genre: Documentary

Language: English/Spanish

Country: US