Something’s rotten in the Kingdom of Sundance…
I have just learnt with dismay that the film Love and Diane, by Jennifer Dworkin, was not chosen by your festival’s selection committee.
I have worked for more than thirty years in the field of audiovisual production and have been head of the Documentary Programme Unit at ARTE France for the last fifteen years. In this capacity, I have been involved in the production of at least 150 feature-length documentary films, several of which have won awards at major international festivals.
Thanks to Jennifer Fox, I discovered the rough cut of Love and Diane at the beginning of the year, and I immediately decided to engage ARTE France as a partner in this independent production.
The work that Jennifer Dworkin has carried out over several years with Love and her family is unique in the field of anthropology. And even rarer is its exceptional cinematographic quality. The editing, moreover, has brilliantly highlighted the rigour and intelligence of the shooting.
In my opinion, this film is a masterpiece that will mark the history of documentary. It will be soon be recognized as a major classic.
I have no doubt that Love and Diane will return to you covered with awards and international recognition in which you will not have participated – to your own shame.
That your selection team should be so blinded that they do not give your jury the chance to discover the obvious by awarding it a major prize seems to be symptomatic of a very profound trouble of which it is my duty to warn you.
“I know of less than a dozen whose eyes I can trust even so much as my own,” wrote your compatriot James Agee in his famous introduction to Let Us Now Praise Famous Men, evoking the general misuse of the camera, “the central instrument of our time.”
Jennifer Dworkin is a person whose way of looking at the world will move and unsettle spectators all over the world for a long time to come.
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