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.


Group Review Documentary:

THE KING - (2018) / USA (Director: Eugene Jarecki; Producers: Eugene Jarecki, Christopher St. John, Christopher Frierson, David Kuhn)

Available in select theatres


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


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)



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





Artwork by Hilary Campbell

Intro music by Jeremiah Moore

Transitional music by BELLS (thanks to Christopher Ernst)