What explains our hunger for these films? We live in the age of "para-social relationship collapse." The pandemic, social media, and the #MeToo movement have destroyed the velvet rope between the audience and the performer. We no longer want the magic trick; we want to see the trapdoor. When we watch Amy (2015), we are not just mourning Winehouse; we are mourning the tabloid culture we participated in. When we watch Tonya: The Nancy Kerrigan Story , we are revisiting a class tragedy dressed up as tabloid crime.
Documentaries like Miley the Movement , Britney versus Spears , and The Greatest Love Story Never Told (Jennifer Lopez) were criticized for lacking depth or appearing as carefully curated PR pieces. girlsdoporn 18 years old e390 10 22 16 top
Because the entertainment industry is built on public relations, the best documentaries treat "official statements" with deep suspicion. They contrast the polished press junket interview with the raw, whispered testimony of a PA or an assistant. What explains our hunger for these films
For decades, the documentary was the domain of the political whistleblower or the nature enthusiast—a genre associated with grainy footage of war crimes or a David Attenborough whisper. But in the last ten years, a new titan has risen to dominate the non-fiction landscape: the entertainment industry documentary. From Framing Britney Spears to The Last Dance , from Oasis: Supersonic to Woodstock 99 , we have become obsessed not just with the art, but with the machinery that makes it—and the bodies it breaks. When we watch Amy (2015), we are not
A look at the first quarter of the year shows production down by 31% and box office sales down 50%. It contrasts Hollywood's narrative struggle with the rising popularity and relevance of documentary filmmaking. Reviews of Recent Industry Documentaries
By the 1970s and 80s, documentaries began focusing on the grueling reality of production. Notable examples include Hearts of Darkness: A Filmmaker's Apocalypse (1991), which chronicled the chaotic production of Apocalypse Now , and Burden of Dreams (1982), which followed Werner Herzog's obsessive struggle to film in the Amazon.