Programmer’s Statements

When looking back over the now more than a century long development of the cinematic art form, the early 21st century is already recognizable as one of the most significant moments of that history.  Above all, the first decade of the 21st will be remembered as the dawn of a golden age for non-fiction filmmaking. Though it is possible to reconstruct a history of documentary extending as far back as the history of film itself, it has come into its own only recently. Non-fiction film making has transcended its predominant mid 20th century role as state controlled nationalist propaganda to become a diverse and creative medium of expression, which—circa the turn to the 21th century, with the unprecedented success of films like Michael Moore’s Bowling for Columbine—has finally become a populist and commercially viable genre. 

In the wake of that success we have witnessed an explosive proliferation of non-fiction moving media exploring new ideas, perspectives, styles, and techniques which comprises the most hard-hitting wave of documentaries in the history of world cinema—and Canada is widely, and justifiably, acknowledged as a world leader in the development of the documentary form.  For these reasons, I do not think it an exaggeration to say that we are uniquely situated, both in time and place, at the epicenter of one of the most significant cultural and artistic developments of our time. 

There are, as I see it, at least two main reasons for the now firmly established golden era of non-fiction film. One is the utter creative, moral, and intellectual bankruptcy of the vast majority of mass media and information outlets which are controlled by a hand-full of corporations representing the narrow interests and perspectives of a small but powerful group of economic elites. At the same time, this void is coupled with the availability of relatively inexpensive and functional new technologies for the production of moving media, together with new distribution networks through which film-makers can find audiences. These conditions have made possible a revolution in the way documentaries are produced and experienced. I, for one, am honored and excited to be part of this democratizing revolution and to connect, if only in some small way, with the significant cinematic developments going on around us. I would like to invite you to connect as well, by participating in the 2011 FOMM.

This year, it was my distinct privilege to join the FOMM team and coordinate the 2011 FOMM program. I am passionate, not only about film, but the synergistic force of combining the immersive, discourse generating, and solidarity building power of a festival atmosphere with the creative, expressive, and illuminating power of documentary film. Tapping this force, FOMM aspires to act as a means for the generation of critical emotion, thought, dialogue, and ultimately engagement in processes of social development.  In our impoverished media landscape simply giving a platform to excluded voices can already be a meaningful act of resistance.

This year’s films, as always, examine our complex relationships with the world around us, whether with other animals (One Lucky Elephant, Feathered Cocaine) or with the very frontiers of our experience, toward which we are compelled by the spirit of exploration (Space Tourist). In addition, I’d like to highlight one other important but not immediately obvious theme of this year’s program which concerns a reflexive self-examination of ideas germane to the contemporary documentary tradition itself. While it is common, perhaps even a dramatic cliché, to valorize the passion and conviction of the driven and obsessive artist, it is less common to consider those who go to equally extraordinary lengths to experience art; this year we will turn the spotlight on those in front of the movie screen (Cinemania). Also, by looking at the prankster and provocateur (Able Raises Cain, Roadsworth), this year’s program touches on a theme which has been central to the contemporary populist wave of nonfiction filmmaking in which many  leading filmmakers have adopted an active and interventionist role, often in radical and conscious opposition to the notion of a dispassionate and perspectiveless documenter.  Happy viewing.

- John Lundy