The film-maker and critic traces a decade of documentaries, from the fall of the Berlin Wall to Michael Moore, via Klaus Barbie and The Wombles
The unmistakable film-making voice of documentary-maker and critic Mark Cousins is raised again, to educate, to intrigue, to challenge. His histories of the movies are invitations to a seance, a chance to participate in the kind of ecstatic trance or dream-state that Cousins himself goes into, almost free-associating from film to film but with an overarching but discreetly emphasised theme – or maybe motif – and always with something shrewd, pertinent and humane to say. I have never watched a Cousins film without feeling that I have learned something new, and so it has proved again.
At Karlovy Vary, he is presenting part of his monumental new The Story of Documentary Film, which comprises 16 hour-long chapters, and of these he is here giving us numbers Eight and Nine, about the 1980s. The first of these begins and ends at the site of Checkpoint Charlie on the Berlin Wall which came down at the end of the decade; Cousins subtitles this episode with a line from Robert Frost: “Something there is that doesn’t love a wall.” His theme here is empathy, surmounting the obstacle (or wall) of indifference or ignorance; and he talks about the films that questioned the existing order and which pulled away the bricks that caused the Soviet wall to collapse. The second part (chapter nine) is subtitled “detectives”, about the investigative documentaries that demanded answers, particularly to questions about the wartime past, by people like Marcel Ophuls, Claude Lanzmann and Michael Moore.
