A24 Releasing (burying?) The Sixth to Amazon Prime

Sam Adams, in Slate, asks why A24 would bury its newest documentary film The Sixth. He calls it buried because there will be no theatrical release. Here’s Adams’ thinking:

Instead of streaming for free on Prime to a potential audience in the tens of millions, The Sixth is currently a $19.99 digital purchase, and although it will be available for rental Thursday, neither price point is likely to reach even a fraction of the viewers—especially when so few of them even know that it’s there. Did the studio behind Civil War get cold feet when it came to the depiction of a nonfictional uprising, or did it simply make the calculation that the documentary wasn’t worth the expense of a theatrical release? The Sixth itself suggests a third, equally troubling possibility: One of the darkest days in American history has simply become too uncomfortable to talk about.

Perhaps we will find out for sure soon enough. But I will quibble with one point: Going straight to streaming is no longer any indication of burying a documentary. It’s really standard these days. There are so many more good documentary films produced globally than ever see theatrical distribution. You’ll find them on streaming services — including Oscar winners. I’ll have more to say about this later.

Despite that minor quibble, I’m wondering the same thing as Adams. What gives?

Is it too uncomfortable or too soon? Or too polarizing, i.e. A24 would rather not piss off a chunk of audience that might be persuaded to see its latest feature Civil War. I haven’t seen Civil War — and I might not — but I have heard the filmmakers try to stay clear of the current political divide. I find the idea of an alliance between California and Texas howlingly funny. When in doubt, head for a parallel universe, amiright? But who knows? Maybe it works.

Might be kinda hard to maintain that teetering position on the fence for your audience(s) if you’re also releasing a film about a real insurrection.

I’m looking forward to more reporting on this.

See also: How a documentary about the Jan 6 insurrection covers new ground.

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A (Short) Tale of Two Photos

Since 1972 when I first picked up, with intention, a camera, I’ve made tens of thousands of images and many hundreds of hours of video footage — much of it I would call documentary. This is a short tale of two of those images — one made in high school in 1975 for the yearbook and one made as part of filming a humanitarian crisis in Mexico near the U.S. border as part of documentary film project.

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This image of celebration in sports is one that I still think of often. It remains in my news/sports portfolio to this day. This moment was the first time as a photographer when I knew I had the “story” the very moment I tripped the shutter. I was paying for my film from various odd jobs (e.g. cutting grass), so I was frugal. I took only six photos of this game.

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This image is the prequel to a catastrophe for this family. They are migrants in the camp in Matamoros, Mexico. The mother has just written names and phone numbers of the arm of her oldest son — maybe seven years old. She’s about to send both of them over the bridge to the U.S. where she hopes they will find a better life. She may never see them again. I was capturing digital images while my crew filmed. I hit the shutter button on my phone like a motor drive. I’ve felt the I-have-it rush many times. But sometimes it’s not so much a rush as it is a knife in the heart.

I’m working on an idea. This post is the first tiny step on a journey. I’m thinking I need to deal with more than 50 years of work. Maybe try to make it make some sense. More soon…

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My (occasional) Doc-a-Day Plan

I watch a documentary film everyday. Well, usually when I can manage it. Maybe it’s better to say that I aspire to watch a doc per day and have imperfectly practiced this discipline for several years.

My streak at the moment is 4 days 🙂

I told media students this in every class I taught: You need to fill your head with the thing you want to do.

Sfts Title3Here is one of the results: Songs From the Street. It’s a student-produced documentary from Carbon Trace Productions and Missouri State University. It won an Award of Excellence from the Broadcast Education Association. This is a good place to start your own doc-a-day habit.

Note: I do not allow any embedding of this video for the moment. That includes here, too. Just click the link 🙂

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Digital v. Film… Makes No Sense to Me

In the film Everybody Street (available free on Tubi), a documentary about street photography, Elliott Erwitt makes some remarks regarding film versus digital that set my teeth on edge. Luckily, a couple of minutes later, Jill Freedman set him straight.

So he’s by-god Elliott Erwitt, and he can have any opinion about anything in photography he by-god wants. His disparaging of digital in favor of film set me to spitting a cussing because it was exactly digital that reignited my love of photography (i.e. more than just a way to make money). And, further, it was the cost-effectiveness and ease-of-entry of digital got me into film, or, rather, “digital film” as it is taught in my department at Missouri State University.

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Freedman, bless her heart, has exactly the same attitude about this as I do — the same attitude I encouraged students to adopt in my journalism and documentary film classes: Shoot with what you have in your hands at the time. Who gives a damn what kind of camera it is or what media it uses? If shit’s happening in front of you, catch it with whatever glove you’re wearing.

Image generated with Copilot.

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What I Saw at the Revolution

I was in Porto to attend the festivities commemorating the 50th anniversary of the Carnation Revolution on 25 April.

Tech notes: I was filming with my run-n-gun camera — the Canon XC-10 — using the Canon Log profile. I recorded audio directly into the cam with a shotgun mic. But I replaced the audio with the original recording of Grândola, Vila Morena, by singer-songwriter José Afonso. Edited with DaVinci Resolve 19 beta using the Canon skin tone LUT for Canon Log.

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