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Except for a by-the-book opening segment, in which director Barbara Kopple seems to grind through all of her blandest tendencies to make room for the grist of what’s important, the film filters Jones’s life and career through her illness.
We meet Jones’s band, the Dap-Kings, through that lens, getting to know each musician in light of how their friend’s illness has unfortunately affected their livelihoods.
It’s ostensibly a biopic of legendary, 93-year-old jazz trumpeter Clark Terry told via his mentorship of an affable, mid-20s piano prodigy stricken with debilitating nerves and near-complete blindness, but it quietly reveals itself to be so much more: an affectionate valentine to the tenacity of the human spirit which never once dips over into the maudlin. probably errs too far towards a thesis that Nina Simone’s mental health was the cause of her genius, rather than a factor that complicated it.
Best of Enemies deftly contextualizes the debates within the framework of their era, but the film is more concerned about how much they’ve echoed through the years.
How quiet do we get when the Dutton family espouses their beliefs as “white separatists” around their young children?
How do we feel about individual rights when the will of that individual is essentially to terrorize a community and repurpose their homes for hatred?
In The Wolfpack, director Crystal Moselle has nearly unlimited access to the Angulo brothers; at one point they inform her that she is the only person who has ever been invited over to their home, and is the only guest they’ve ever had.
Sad and strange, funny and touching, powerful and unsettling, it is so wholly unusual, The Wolfpack may be like no truth you’ve ever seen before. Welcome to Leith Year: 2015 Directors: Michael Beach Nichols, Christopher K.