Category: DOC NYC 2020 – November 11-19

America’s largest documentary. The 2020 eleventh editionincludes 107 feature-length documentaries among over 200 films and dozens of events. Included are 23 World Premieres, 12 international or North American premieres, and 7 US premieres. Fifty-seven features (53 percent of the lineup) are directed or co-directed by women and 36 by BIPOC directors (34 percent of the feature program).

THE LAST OUT Film Review

Eighty-four minutes of riveting cinematography. An edge-of-your-seat, bittersweet, smashingly lensed story about the fates of three young promising Cuban ballplayers dreaming of making it big in Major League Baseball in the States. Because of the U.S. embargo against Cuba, however, Cuban ball players like them who want to be signed to big contracts must leave their homes to try to establish residency in The Dominican Republic, Haiti or Costa Rica. This Caribbean rite of passage means players must trek the dangerous Central American migrant trail where bodies and atrocities never stop piling up.
By Gregg W. Morris

2020 DOC NYC Review

Filmmakers Magnus Skatvold and Greg Mallozzi exquisitely and tellingly profile former NYC police officer Bob Leuci, who in the 1960s was a member of the NYPD’s Special Investigative Unit AKA SUI, a major undercover narcotics operation. BLUE CODE of SILENCE’s 74 minutes of virtuosic cinematic story telling, nevertheless, caused this reviewer to navigate swells of ambivalence. There is obviously more to this movie than just a profile of a rogue cop who was treated as a prince of the city even though he had a mega-measure of antagonists who considered him a rat.

DOC NYC 2020 Film Review

Director Aleksandr M. Vinogradov’s visually stunning 91-minute film about the Belgian choreographer Thierry Smits’s creating his new visually stunning contemporary dance piece, Anima Ardens – stirring up this reviewer’s collective unconsciousness and consciousness to a feverish pitch. The athleticism of 11 men, naked, whirling, pirouetting, dashing around huge alabaster stage as well as enmeshing and scrumming with arms and legs and heads and torsos going this way and that, rhythmically and synchronously and kinetically, forming and reforming edificial shapes and collages with human building blocks that expand and melt away into other forms and entities was transfixing.