Sundance 2022: Three Minutes – Extension, Lucy and Desi, Drop: Right vs. Boeing | Festivals and awards


The most structurally daring feature at this year’s Sundance was in the Spotlight section, which highlights several works that have been performed at other festivals, such as “The Worst Person in the World” and “After Yang”. The document in this section is the ghost of Bianca Stigter “Three minutes is an extension,a study not only of history but also of how we unpack and interpret footage from it. In 2009, a man named Glenn Kurtz found in his parents’ closet a 16-millimeter home movie, footage from a vacation his grandfather took to Poland in 1938. Stigter’s film begins with this uncut shot. We see dozens of people in the Jewish community gather in the square, many staring straight into the camera, while others go by day or gather together for some event. There’s only one vague sign and a few landmarks, so it’s hard to say exactly who these people are and what they’re doing, but that hasn’t stopped Kurtz.

He turned into a celluloid detective, first finding out where the footage was taken – Naselsk, Poland – and then trying to find someone who could fill the history of this place and its inhabitants, quickly learning that almost all of them were killed during the Holocaust. Less than 100 people survived World War II. Most of these people would have died much sooner than they could have known. It’s like watching ghosts.

And that’s all we see. Stigter’s film is not made up of material other than what was in those three minutes. The frames will be pulled out and dissected, for example, if Kurtz tries to read a grocery store sign to find out its owner, probably a woman, is coming out from behind the front door. In Helena Bonham Carter’s story “Three Minutes – Extension” becomes not only a story, but also a conversation about how we capture it. It is mentioned that the footage was so degraded that recovery would probably have been impossible if it had not been found if it had been. What then? These people would never again be seen, forever lost to history. Stigter’s film proves that when we record even something as casual as a family vacation, we capture life in such an important way. Celluloid is important not only as a passive viewing experience, but also as a portal in time and place. This is a powerful, important part of filmmaking.

It’s hard to understand a documentary as distinctly different from Stigter’s as Amy Poller’s “Lucy and Desi”, a relatively ordinary biodocument, but with an intimate, personal touch from a comedian who is clearly passionate about her topics. While the structure may be repetitive and overly familiar, the respect that Poler and her co-workers enjoy Lucille Ball and Desi Arnaz is contagious, leading to Prime Video, which ultimately brings more pleasure than Oscar-winning favorite Aaron. Sorkin, which is now broadcast on the Streaming Giant. .



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