Wiseman discusses how his latest documentary relates to frequent fascinations in his work.
Throughout the film, Frederick Wiseman offers a suggestion of how the world could work.
Much of the film is spent in this space of vulnerability we could call the feminine position.
Wiseman discusses the shooting the film, Sophia Tolstoy’s novels and letters, and more.
A Couple ultimately constitutes not so much a footnote to Wiseman’s storied career as a beguiling little doodle in its margins.
The film is most tragic and humorous when hints of the outside world break through the suffocatingly cheerful façade of the Villages.
Its provocations can seem savage at a glance, but they emerge from an observational tranquility that is uniquely Frederick Wiseman’s own.
Throughout, artists intermingle in scenes that have been rendered with an Altman-esque sense of personal panorama.
Doclisboa offers a vertiginously eclectic and vast lineup, with a mishmash of old and new films from a multitude of countries.
As always with Frederick Wiseman, it’s the quotidian gestures that haunt one in Monrovia, Indiana.
The film suggests a college course and a guided tour wedded together as a work of prismatic humanist art.
Frederick Wiseman’s documentary grasps the powerful distinction between a neighborhood and a community.
Light in darkness and darkness in light; for every affirmative moment, Frederick Wiseman finds a complementary negative.
The film functions as an effortlessly comprehensive institutional portrait and an open-form essay on the very image itself.
This is one of Wiseman’s richest and most thought-provoking films, and easily one of his best.
Not only a study of the contemporary American university, but a wide-ranging inquiry into the larger institutions and contradictions that define life in the United States.
Tchoupitoulas could also be described as a work of nonjudgmental portraiture, but that wouldn’t come close to encapsulating its beauties.
The film is as modest and self-explanatory as its lower-case title suggests.
Côté’s images ostensibly detached, they somehow manage to be beautiful without ever becoming particularly pleasant to look at.
Wiseman spoke to us about working with William Castle, the clash between art and commerce, and the documentary power of the Marx Brothers.