That is true also of Tad Quill’s “Bent,” an exceptionally well-reviewed and indifferently supported
“The March,” directed by John Akomfrah and narrated by
The Oscar-nominated Palestinian-Israeli-French co-production "5 Broken Cameras" makes its way to the PBS series "POV" this week. Fashioned by Palestinian "peasant" Emad Burnat and Israeli filmmaker Guy Davidi from home video footage shot on a succession of cameras, serially destroyed in encounters with the Israeli army in the last half of the first decade of this century, it centers on the arrival of an Israeli settlement next to his village at the edge of the Occupied Territories and a fence that closes the villagers off from their olive trees. Its matter is the stuff of big novels, and the nonfiction movie Burnat and Davidi have made, though it records a political grievance, is poetic at its heart -- a look at ordinary life in a place most Americans will picture imperfectly, and a story of Burnat's friends and of his family. He begins shooting with the birth of his fourth son -- "The first days the bulldozers come are very hard, yet those are also very happy days for me" -- and keeps shooting. (He becomes the village recorder.) His wife would very much like that he put his camera down. He won't, and so it is also a story about an obsession, and, given the situation, a dangerous one. And yet, he continues, for the order the frame gives, and the distance the images allow. A picture about survival, then, of different kinds.
[Updated 10:53 p.m. Aug. 22: An earlier version of this story cut short a quote about a kick by Brandi Chastain. The quote that begins "She didn't" is, in full: "She didn't make that in the history of her professional soccer career."]