How Toronto Documentaries Use Innovative Methods to Reach New Audiences: ‘You Need a Different Lens’

As a film enthusiast who has spent countless hours immersed in the world of documentaries and independent cinema, I am thrilled to see the creative innovations taking place at this year’s Toronto International Film Festival (TIFF). The fusion of documentary and other genres is not only refreshing but also an effective way to engage audiences and tell captivating stories.

For quite some time now, documentaries have been abundant on both streaming platforms and art cinemas, and there’s a solid explanation why: They are often the least costly independent films to create and they have the potential to ignite significant cultural discussions that draw large viewership. However, given the numerous options available, how can filmmakers make their work stand out from the crowd?

In Toronto, directors are adopting innovative strategies: they’re adding fresh theatrical sequences to dramatize untellable histories, they’re shooting breathtaking airborne feats that surpass usual documentary photography standards, they’re employing auditory methods to replicate characters’ sensory experiences, and they’re blending documentary elements into other film genres.

Indeed, our current world is witnessing a significant rise in nonfiction filmmaking and audience involvement compared to a decade ago, asserts TIFF’s documentary programmer Thom Powers. This surge brings about new difficulties because audiences are now accustomed to specific visual approaches in documentaries. To captivate their attention and offer a novel perspective, it’s essential to employ an unconventional viewpoint.

An illustrative instance that Powers mentions is “Patrice: The Movie,” a documentary-romantic comedy by Ted Passon that follows the journey of a disabled woman named Patrice Jetter as she battles to wed without forfeiting the disability benefits essential for her survival. In this production, the main character, Patrice Jetter, designed sets and played herself in reenactments of her life’s events alongside child actors. According to Passon, “Patrice has a wealth of stories from her life, and she’s been through so much that influences how she perceives the world today.” He further adds that Patrice is engaged in creating a graphic novel and making drawings based on her life experiences, and she previously hosted a children’s educational television program. Passon found it enjoyable to integrate these aspects, and it aided in addressing the tonal challenges as some of the topics Patrice discusses are quite serious.

Kyla Harris, one of the producers, collaborated with Jetter in penning certain sequences for this movie. The premiere is set for September 8th at TIFF, while it will be available to stream on Hulu starting September 30th.

Multiple acclaimed documentaries have employed aerial photography for dramatic impact, such as “Man on Wire” from 2007 and this year’s “Skywalkers: A Love Story,” along with countless skydiving docs. However, few films depict cars or office cubicles tumbling from aircraft. The film “Space Cowboy,” directed by Marah Strauch (who also directed the 2014 BASE-jumping documentary “Sunshine Superman”) and Bryce Leavitt, uses stunning visuals to document the work of aerial stunt cinematographer Joe Jennings. According to Leavitt, the film could have focused on Jennings’ life and career as the go-to guy for making objects appear airborne through archival footage. However, Jennings had never made a car fall mid-air or fly perfectly, so this project offered a unique chance to document his pursuit of this feat. The movie premiered on September 6 in Toronto.

In a similar vein to “Patrice,” Olivier Sarbil’s film titled “Viktor” endeavors to portray the personal perspective of its lead character, who is Deaf and serves as a war photographer during the Russian invasion of Ukraine. Sarbil expresses that by having Viktor record his thoughts and emotions in a diary for voiceover purposes, they were able to reveal his inner world more intimately compared to conventional interviews. The film employs muted audio to replicate the ambiance of the Deaf community, reflecting Viktor’s internal life and helping the audience perceive what transpires within Viktor’s mind. Additionally, the black-and-white cinematography mimics Viktor’s photography style and reflects how he perceives life, as he explains that his worldview shifted from color when he became deaf at age five.

In the Toronto festival, at least one entry combines features of documentary filmmaking without being a documentary itself. The animated biopic “Piece by Piece,” for instance, employs animation reminiscent of “The Lego Movie” to depict the life and career of musician Pharrell Williams. Although it was directed by renowned documentarian Morgan Neville and includes off-the-cuff commentary from artists like Jay-Z, Justin Timberlake, Kendrick Lamar, Gwen Stefani (all portrayed as Lego figures), the film’s visual narrative and some scripted scenes place it in the genre of fictional Lego movies, similar to Richard Linklater’s 2001 animated feature “Waking Life.” TIFF’s Powers, who was not involved in programming the Sept. 7 Special Presentation that will hit theaters on Oct. 11, found it delightful and appreciated films that broaden the reach of nonfiction storytelling. He often struggles to get his 14-year-old to watch a movie, but when he does, the teenager usually complains, “Anything but nonfiction!

2024-09-08 16:16

How Toronto Documentaries Use Innovative Methods to Reach New Audiences: ‘You Need a Different Lens’

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