[The Daily] True/False 2018

This year’s edition of the True/False Film Fest opens today in Columbia, Missouri and runs through Sunday. “The festival focuses on nonfiction films, though True/False’s definition of the term is intentionally porous,” writes Aarik Danielsen during the course of his talk for the Columbia Daily Tribune with David Wilson, who co-founded the festival with Paul Sturtz in 2004. “Here, traditional talking-head documentaries meet more experimental fare, and even fiction films that help themselves to nonfiction tropes and techniques.”

True/False has not only made its 2018 program available online, but also Black Audio Film Collective 1980s–1990s, the monograph accompanying this year’s Neither/Nor program put together by programmer Ashley Clark. Neither/Nor explores “‘chimeric’ cinema, filmmaking that contains elements of fiction and nonfiction,” and the Collective “consisted of seven multidisciplinary and multimedia artists” with “backgrounds in fields such as psychology, sociology and fine art.” The image at the top is from John Akomfrah’s Handsworth Songs (1986).

Abby Ivory-Ganja and Haley Broughton have been talking with filmmakers for KBIA, and these True/False Conversation run just under four minutes each: Cristina Hanes (António e Catarina), Erick Stoll and Chase Whiteside (América), Stephen Maing (Crime + Punishment), Khalik Allah (Black Mother), Tim Wardle (Three Identical Strangers), and Adriana Loeff and Claudia Abend (La Flor de la Vida).

“Both Rocío Álvarez and Aldana Bari Gonzalez were pretty typical teenagers when their aunt, the documentary filmmaker Laura Bari, decided her next film should be about the two girls’ journey to wholeness after both had suffered sexual abuse,” writes Allyson Vasilopulos, introducing an interview with the filmmaker and her subjects for the Missourian. Primas screens tomorrow, Saturday, and Sunday.

For the Pitch, Dan Lybarger picks out a few highlight: Crime + Punishment, Bart Layton’s American Animals, Robert Greene’s Bisbee ’17, Steve Loveridge’s Matangi/Maya/M.I.A., Maxim Pozdorovkin’s Our New President, and Morgan Neville’s Won’t You Be My Neighbor?

As notable reviews from this year’s edition appear, we’ll be making note of them here.

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