The way director Luke Korem introduces his subject in Dealt is the documentary equivalent of the magician’s practiced patter, with ardent testimonials introducing audiences to the astounding art of card mechanic Richard Turner.
Michael Almereyda’s Escapes is a rough sketch compared to polished Hollywood portraits like The Kid Stays in the Picture. That’s partly because Hampton Fancher is not a well-oiled raconteur like Robert Evans.
The blunt, insistent documentary Architects of Denial is built upon a central thesis: the refusal of Turkey’s government (and its ally the United States) to acknowledge the systematic elimination of 1.5 million Armenians in 1915 as genocide has led to countless other deaths and continued persecution.
The small tobacco farm in East Bend, North Carolina where Angus MacLachlan filmed the lean, elegiac drama Abundant Acreage Available is a vision of bygone rural life, a contained microcosm where hard work and self-reliance could sustain a family for generations.
There’s a glorious tension in Vincent Van Gogh’s paintings, the thick paint holding each of the artist’s gestures like an insect in amber, and the long-hardened material still appearing to shiver and pulse. Animators Dorota Kobiela and Hugh Welchman free that contained movement.