Booker’s Place: A Mississippi
Story (d. Raymond De Fellita):
In 1966, Frank De Fellita interviewed a man named Booker Wright for his
NBC News documentary about racial tensions in Mississippi. Booker, a popular
African-American waiter in a whites-only restaurant by night and bar
owner by day, gave a brilliant and devastating monologue about the
grin-and-bear it approach to racial discrimination, which saw him attacked, fired, and
possibly killed as a result. (The circumstances of his death are suspect.) With Booker’s
Place, Frank's son Raymond mounts an archival excavation of the elder De Fellita’s influential
but rarely screened doc, while shepherding Wright’s monologue into the present and
inviting his granddaughter to reintroduce it as a key document in the Civil
Rights Movement. For the most part, this is vital and moving material, which
doubles as a subtle lesson in the history of network television; it only flags when the
director stops for too long to consider his own father’s cinematic legacy -- the least interesting part of the story. ***/**** (Special Presentations)
Over My Dead Body (d. Brigitte
Poupart):
Brigette Poupart turns the camera on close friend and collaborator Dave
St-Pierre, a Montreal-based choreographer who’s internationally celebrated and
derided in about equal measure for pieces like A Little Tenderness for
Crying Out Loud! A fittingly naked profile of a young artist whose work
eschews politeness, the film follows St-Pierre, diagnosed in his teens with
cystic fibrosis, over a gruelling 15-month period as he awaits a lung
transplant. This is Poupart’s first feature, and while it sometimes shows in
the overcranked editing and CSI-like trips into x-rays, it’s otherwise a
visceral, moving, and wildly inventive film that effectively digs into its
subject’s skin for the long haul. ***/**** (Canadian Spectrum)
Scarlet Road (d. Catherine
Scott): Rachel
Wotton is an Australian sex worker who focuses on an underserved client base:
people with disabilities. Catherine Scott’s Scarlet
Road does a good job of breaking the taboos surrounding both touchy
subjects by simply refusing to take them seriously: the disabled have sex
drives, it flatly asserts, and some women work in the sex trade. Period. It
would be a more thorough portrait if the film invested more in these workers’
legal situation in Australia, which seems too complex for its somewhat cheery
tone. But Scott brings a delicate touch to her coverage of both the clientele –
plus their lovely, overwhelmingly supportive parents – and of Wotton, who
moonlights as an activist and academic pursuing a Master’s degree in sexual
health. What the film lacks in political nuance, Wotton makes up in her articulate
commentary, especially her rebuttal to those who make offhanded claims about the
supposed false consciousness of sex workers like her. ***/**** (World Showcase)