My other favorite documentary: Doug Block’s 51 Birch Street, the filmmaker putting a bold camera on his quietly estranged parents. Made in the same suburban Jewish milieu as Capturing the Friedmans, it’s gentler, kinder, less pathological, but no less effective in shaking the family tree. And Vermonter Jay Craven’s Disappearances is an extraordinary accomplishment, a Depression-era piece made on a sub-shoestring budget. This Peckinpah-like Eastern Western stars grizzled Kris Kristofferson as a ex-moonshiner on a last quest, an optimist forwever. “Just the opposite of me,” Kristofferson said at Austin.
: Film Culture
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