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Two days into the festival and I am reminded again why I love Hot Docs so much – the films, the people, the conversation, the camaraderie and the energy. Every venue is literally buzzing! Speaking of venues, my new favourite fest staffer is the bespectacled English woman wrangling lines in the lobby of the Lightbox – she runs a tight, but jovial and entertaining, ship! And it doesn’t hurt that she directs folks in a wonderfully sing-songy voice that sounds…
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First day of official Hot Docs film-going and I am hobbled by a foot injury! Good times. The doctor says I need to take it easy for a couple of days, so I’ll be heading to fewer screenings over the weekend in the hopes of helping my troublesome tendons to heal. I did manage to make it out to a pair of films today, though. Director (and author) Sebastian Junger crafts a moving and insightful portrait of his late friend…
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Once in a while, you stumble upon a seemingly simple documentary that surprises you with its quiet strength and unexpected depths. For me, We Always Lie to Strangers (8/8) is one such film, and I was literally sobbing in my seat by the time it was over. Its subject matter is the town of Branson, Missouri – population: just over 10,000; annual visitors: 7.5 million – and the lives of several families working in the entertainment world of this micro-Vegas.…
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One of the perils of seeing a large volume of films at Hot Docs is the inevitable emotional exhaustion that can set in, especially if you find yourself seeing one sad story after another. Garden of Eden (5/8) is sort of a microcosm of that phenomenon because it literally features one sad story after another in its somewhat meagre 75-minute running time. The film tracks a year at the Sakhne, a large, popular public park in Israel, where people come…
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With the potentially rich and colorful backdrop of New York City’s gay scene in the late-1960s through the ‘70s, I thought Continental (4/8) was going to be a lot more interesting a film experience than it was. But the key problem with this documentary about the legendary bathhouse – and the antics of its patrons, performers, staff and founder, Steve Ostrow – is its distinct lack of archival footage and photographs. Instead, the film is mainly a string of talking…
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Sometimes, I see a documentary that leaves me squirming in my seat out of sheer frustration, and that was certainly the case with The Manor (2/8), a purported slice-of-life of documentary that feels like an exploitative product of the Here Comes Honey Boo Boo School of Entertainment. Director Shawney Cohen trains his lens on his own dysfunctional family and the family business: the titular (pun regrettably intended) Guelph, ON, strip club. The result, described as a “tragi-comic family portrait” is,…
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