Show Notes
This week we cover documentary films that at first appear to be about a bunch of wildly different ideas but then manage to tie it all together under a coherent and satisfying theme. THE KING is reviewed followed by an interview between Bart and the director of CUBA AND THE CAMERAMAN.
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Group Review Documentary:
THE KING - (2018) / USA (Director: Eugene Jarecki; Producers: Eugene Jarecki, Christopher St. John, Christopher Frierson, David Kuhn)
Available in select theatres
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Film Featured in Interview Portion:
CUBA AND THE CAMERAMAN - (2017) / USA (Director: Jon Alpert; Producers: Jon Alpert, Matthew O'Neill, Tessa Treadway)
Available to stream on Netflix
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Other Documentaries Mentioned:
Berlin Symphony of a Great City / 1927 (Director: Walter Ruttman)
Bowling for Columbine / 2002 (Director: Michael Moore)
County Fair Texas / 2015 (Director: Brett Whitcomb)
Elvis 56 / 1987 (Directors: Susan Raymond, Alan Raymond)
Ex Nihilo / 2017 (Director: Timo Wright)
F For Fake / 1977 (Directors: Orson Welles, Oja Kodar, Fran?ois Reichenbach, Gary Graver)
Fast Cheap and Out of Control / 1997 (Director: Errol Morris)
Fog of War / 2003 (Director: Errol Morris)
Freedom for the Wolf / 2017 (Director: Rupert Russell)
GLOW: The Story of The Gorgeous Ladies of Wrestling / 2012 (Director: Brett Whitcomb)
How the World Went Mad / 2018 (Director: Rupert Russell)
Instant Dreams / 2017 (Director: Willem Baptist)
A Life in Waves / 2017 (Director: Brett Whitcomb)
Man with a Movie Camera / 1929 (Director: Dziga Vertov)
RKO Productions 601: The Making of ?Kong, The Eighth Wonder of the World / 2005 (Writers: Ron Magid and Phil Savenick)
Sherman?s March / 1985 (Director: Ross McElwee
Where to Invade Next? / 2016 (Director: Michael Moore)
Why we Fight / 2005 (Director: Eugene Jarecki)
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Timestamps:
03:20 - Intro discussion about tying together disparate ideas into a cohesive theme
14:55 - Group review of THE KING
24:42 - Bart Interviews Jon Alpert of CUBA AND THE CAMERAMAN
15:08 - Doc Talk
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Website/Email:
disinfo@fogoftruth.com
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Credits:
Artwork by Hilary Campbell
Intro music by Jeremiah Moore
Transitional music by BELLS (thanks to Christopher Ernst)
