Raoul Peck’s Fatal Assistance, on the other hand, holds an appropriately cynical attitude toward spectacle.
The most impacting thing True/False does every year is its True Life Fund.
In recent years, Academy members have repeatedly favored the most high-profile, buzzed-about doc in this category, from The Cove to Man on Wire to March of the Penguins.
Life, Above All feels more like a lecture about a problem than a window into a world.
Hetherington gave his life bearing witness, and Diary is what he saw.
The film is a well-mixed assemblage of cacophony, rain, and detritus set in the Willet’s Point neighborhood of Queens.
When Waiting for Superman surprisingly but rightfully got Oscar’s cold shoulder, the hunt for the documentary feature prize suddenly became a wide open one.
Both are war-is-hell movies, be-glad-you’re-not-here postcards about young men marooned in outposts at the outer edges of intractable wars.
The main thing that makes True/False so unspeakably awesome is that they do not care about premieres.