Starting out was With Love, Marty by Jack Kyser in which Kyser plays the central character: a college-age man desperate for the affection of a specific woman. I found his presentation to be brutally honest from all angles — I know from experience how it is to desperately desire someone, and to resort to honest, direct means that work only to sabotage any possible relationship. It touches on the way you can fool yourself into thinking the mental picture you have of someone is the true picture of jem (when, in fact, all representations of other people in your mind are simply reflections of yourself — they are, ultimately, you.)
61 Years by Holly Rodricks is a documentary about her grandmother and grandfather's tumultuous relationship at the end of his life. It was a beautiful and moving piece about life and death, wishes and realities. It starts out with Rodrick's grandmother insisting that her grandfather has been punishing her for her entire life for marrying against their parents wishes (they are Indian, and got married in defiance of their destined, prearranged marriage). Meanwhile, her grandfather is quietly dying — the fragile shell of a once brash and bold man. But under all the outward complaints, and aside from the dutiful commitment to one another, lies real compassion and tenderness.
The Breakfast by Tanya Schiller was a curious, subtly humorous piece that simply followed the interactions of four people eating breakfast at a bed-and-breakfast.
Closing out was American Bomber: The John William Hidell Story by Eric Trenkamp. It's a faux-documentary about the "first American suicide bomber" — it uses the talking-heads model of documentary making to create a story about a man who lashes out — literally self-destructively — at those he feels are a threat. It works nearly perfectly with only a few minor problems that tip off that it can't possibly be for real. But interestingly, in being so near perfect, what would it take to make a perfect fake documentary?
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