Sundance documentary club
Author: b | 2025-04-25
Here are The A.V. Club's most anticipated films from Sundance 2025, ranging from intimate documentaries to oddball fairy tale horrors. doc club ; 2025, documentary, film festival, Sundance. Prev Previous. Next Next. Explore more . จากเมืองนรกสู่ดินแดนที่เทวดาตกหลุมรัก : เบื้องหลัง Wings of Desire
Sundance adds 2 documentaries to 2025 lineup - The A.V. Club
Still from Come See Me in the Good Light. Courtesy of Sundance Institute. Come See Me in the Good Light follows Andrea, a poet in Colorado, as they face a cancer diagnosis. The film is an intimate verité documentary and marks director Ryan White’s return to Sundance after Assassins and Ask Dr. Ruth.Brandon Somerhalder (A Concerto is a Conversation, Live to 100) served as the film’s DP. Below, he explains why a verité approach was right for the project and the difficulties of maintaining that at a live poetry reading without jeopardizing the comfort of his ailing subject.See all responses to our annual Sundance cinematographer interviews here.Filmmaker: How and why did you wind up being the cinematographer of your film? What were the factors and attributes that led to your being hired for this job?Somerhalder: I did a verité documentary a few years ago that director Ryan White saw at Tribeca and started working with him and his producer, Jessica Hargrave, on a different project. Soon after, the idea for this Andrea Gibson documentary came to them. I think I was lucky enough to be asked to film this doc based on my experience shooting other doc projects of a highly unpredictable nature, ones where patient verité filmmaking reveal character and story over time and where the relationship with the people in the doc is just as important as the style and aesthetic.Filmmaker: What were your artistic goals on this film, and how did you realize them? How did you want your cinematography to enhance the film’s storytelling and treatment of its characters?Somerhalder: Our main artistic goal, especially after meeting the main subject of our documentary, Andrea Gibson, was to authentically capture the essence of what makes Andrea such a unique, captivating poet and writer and to tell the story of their health journey in a relatable but poetic way—one that would do justice to their own poetry and profound perspective on life and death. The cinematography really acted solely in service of that goal, prioritizing naturalism and authenticity, while also not straying too objective. It was important that the camera participate in, and not feel separate from, the love and abundance of life surrounding Andrea and Meg. They have three cute little dogs, and I found the camera often felt like a fourth dog, lovingly active in the scenes with them, watching them with admiration, affection, and curiosity.Filmmaker: Were there any specific influences on your cinematography, whether they be other films, or visual art, of photography, or something else?Somerhalder: We didn’t have a ton of control of our environments, especially in the hospitals, clinics, etc.—all natural lighting, so palette and lighting refs were just for fun, but we loved. Here are The A.V. Club's most anticipated films from Sundance 2025, ranging from intimate documentaries to oddball fairy tale horrors. doc club ; 2025, documentary, film festival, Sundance. Prev Previous. Next Next. Explore more . จากเมืองนรกสู่ดินแดนที่เทวดาตกหลุมรัก : เบื้องหลัง Wings of Desire Black Box DiariesSupported by Sundance Institute’s 2025 Documentary Film Program and the 2025 Sundance Film Festival. No Other LandSupported by Sundance Institute’s 2025 Documentary Fund and the 2025 Documentary Edit and Story Lab. Porcelain WarPremiered at the 2025 Sundance Film Festival, where it won the U.S. Grand Jury Prize: Sundance 2025’s Documentaries: Camera Manufacturers Chart Sundance 2025: The cinematography behind the documentaries. After analyzing the cameras and lenses that used to shoot Sundance Film Festival 2025 narratives, it’s time to explore the tools utilized for the documentaries. Since documentary filmmaking is a whole different animal than creating Rosie JonesWriter, Director and Co-producerRosie is an award-winning documentary screenwriter, director and editor. This series is based on many years of research and her most recent feature documentary, The Family, which premiered at the Melbourne International Film Festival in 2016 and was released internationally. The Family has screened widely including on BBC Storyville and STARZ in the USA and won Best Feature Documentary with the Film Critics Circle of Australia and Best Documentary Director at the inaugural Ozflix Awards.Her other films as writer/director include the feature documentary The Triangle Wars, about an epic struggle over development on an iconic Australian foreshore (Best Australian Documentary, Antenna Documentary Festival, 2011). Previous documentaries include Westall ’66: A Suburban UFO Mystery (an investigation of Australia’s biggest mass UFO sighting), Obsessed with Walking (an exploration of psychogeography with Booker-nominated writer Will Self) Holy Rollers (a wry look at Christian pilgrimage amid the tensions of Israel) and Visions of Yankalilla, about an apparition of the Virgin Mary in a church in South Australia.She has also edited numerous documentaries commissioned by Australian and international broadcasters.Anna GrieveProducerAnna has many years experience as an award-winning independent producer and was Executive Producer at Film Australia. Her productions cover all genres of documentary with a particular fascination with powerful emotional stories of investigative history.She produced the feature documentary The Family. Extensive production credits include large-scale dramatised documentaries films with writer/director Peter Butt – I, Spry, The Prime Minister is Missing, Silent Storm and the Logie-award-winner Who Killed Dr Bogle & Mrs Chandler? Since 2008, she has co-produced Big Stories Small Towns, a participatory media project gathering local stories for a global audience and winner of the best community interactive at SXSW 2012.Credits as Executive Producer include Sundance finalist Dhakiyarr vs the King and MobiDocs an award-winning anthology series with the NFB in Canada.She recently produced the Indigenous feature documentary Croker Island Exodus – finalist in the Deadly Awards, Foxtel Prize and screened at Sydney and MIFF Festivals, FIFO and Real Screen Canada.In 2015 she co-produced Death or Liberty, an Irish–Australian feature documentary and series – a musical journey into the dramaticComments
Still from Come See Me in the Good Light. Courtesy of Sundance Institute. Come See Me in the Good Light follows Andrea, a poet in Colorado, as they face a cancer diagnosis. The film is an intimate verité documentary and marks director Ryan White’s return to Sundance after Assassins and Ask Dr. Ruth.Brandon Somerhalder (A Concerto is a Conversation, Live to 100) served as the film’s DP. Below, he explains why a verité approach was right for the project and the difficulties of maintaining that at a live poetry reading without jeopardizing the comfort of his ailing subject.See all responses to our annual Sundance cinematographer interviews here.Filmmaker: How and why did you wind up being the cinematographer of your film? What were the factors and attributes that led to your being hired for this job?Somerhalder: I did a verité documentary a few years ago that director Ryan White saw at Tribeca and started working with him and his producer, Jessica Hargrave, on a different project. Soon after, the idea for this Andrea Gibson documentary came to them. I think I was lucky enough to be asked to film this doc based on my experience shooting other doc projects of a highly unpredictable nature, ones where patient verité filmmaking reveal character and story over time and where the relationship with the people in the doc is just as important as the style and aesthetic.Filmmaker: What were your artistic goals on this film, and how did you realize them? How did you want your cinematography to enhance the film’s storytelling and treatment of its characters?Somerhalder: Our main artistic goal, especially after meeting the main subject of our documentary, Andrea Gibson, was to authentically capture the essence of what makes Andrea such a unique, captivating poet and writer and to tell the story of their health journey in a relatable but poetic way—one that would do justice to their own poetry and profound perspective on life and death. The cinematography really acted solely in service of that goal, prioritizing naturalism and authenticity, while also not straying too objective. It was important that the camera participate in, and not feel separate from, the love and abundance of life surrounding Andrea and Meg. They have three cute little dogs, and I found the camera often felt like a fourth dog, lovingly active in the scenes with them, watching them with admiration, affection, and curiosity.Filmmaker: Were there any specific influences on your cinematography, whether they be other films, or visual art, of photography, or something else?Somerhalder: We didn’t have a ton of control of our environments, especially in the hospitals, clinics, etc.—all natural lighting, so palette and lighting refs were just for fun, but we loved
2025-04-03Rosie JonesWriter, Director and Co-producerRosie is an award-winning documentary screenwriter, director and editor. This series is based on many years of research and her most recent feature documentary, The Family, which premiered at the Melbourne International Film Festival in 2016 and was released internationally. The Family has screened widely including on BBC Storyville and STARZ in the USA and won Best Feature Documentary with the Film Critics Circle of Australia and Best Documentary Director at the inaugural Ozflix Awards.Her other films as writer/director include the feature documentary The Triangle Wars, about an epic struggle over development on an iconic Australian foreshore (Best Australian Documentary, Antenna Documentary Festival, 2011). Previous documentaries include Westall ’66: A Suburban UFO Mystery (an investigation of Australia’s biggest mass UFO sighting), Obsessed with Walking (an exploration of psychogeography with Booker-nominated writer Will Self) Holy Rollers (a wry look at Christian pilgrimage amid the tensions of Israel) and Visions of Yankalilla, about an apparition of the Virgin Mary in a church in South Australia.She has also edited numerous documentaries commissioned by Australian and international broadcasters.Anna GrieveProducerAnna has many years experience as an award-winning independent producer and was Executive Producer at Film Australia. Her productions cover all genres of documentary with a particular fascination with powerful emotional stories of investigative history.She produced the feature documentary The Family. Extensive production credits include large-scale dramatised documentaries films with writer/director Peter Butt – I, Spry, The Prime Minister is Missing, Silent Storm and the Logie-award-winner Who Killed Dr Bogle & Mrs Chandler? Since 2008, she has co-produced Big Stories Small Towns, a participatory media project gathering local stories for a global audience and winner of the best community interactive at SXSW 2012.Credits as Executive Producer include Sundance finalist Dhakiyarr vs the King and MobiDocs an award-winning anthology series with the NFB in Canada.She recently produced the Indigenous feature documentary Croker Island Exodus – finalist in the Deadly Awards, Foxtel Prize and screened at Sydney and MIFF Festivals, FIFO and Real Screen Canada.In 2015 she co-produced Death or Liberty, an Irish–Australian feature documentary and series – a musical journey into the dramatic
2025-04-24James Haven is an American actor and producer who has an estimated net worth of $5 million. Haven began his acting career in 1998 when he appeared in films like Gia and Hell's Kitchen. Other films he appeared in include 2001's Original Sin, and the critically acclaimed Monster's Ball. He made cameo appearances in an episode of CSI: Crime Scene Investigation and The Game. Haven was the executive producer of the documentary Trudell in 2005. The film was selected to the Sundance Film Festival and the Tribeca Film Festival. Trudell won the Special Jury Prize for Best Documentary at the Seattle International Film Festival. He has been the executive board director of Artivist, a festival in Los Angeles which focuses on films addressing human rights, animal rights, and environmental issues, since 2006. James Haven Voight was born on May 11, 1973 in Los Angeles, California. He is the older brother of Hollywood actress Angelina Jolie, son of Jon Voight and Marcheline Bertrand. He attended USC School of Cinema-Television.
2025-04-25