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.
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 illustrates the futility of war not in the grand gestures, but in the minute details that gradually grow to mass devastation.
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.
In a time of partisan sniping, the notion of the “apolitical” war documentary has its obvious appeals.
The main thing that makes True/False so unspeakably awesome is that they do not care about premieres.