6 Filmmaking Tips From Sarah Polley

by Peter D. Marshall

by Landon Palmer.

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Even if you don’t buy into the game and you prefer not to live in a world in which the term “Oscar snub” is used with a straight face, sometimes a lack of recognition for worthy nominees can still sting a little. Such was the case with the conspicuous absence of Sarah Polley’s name when the Best Documentary Feature nominees were announced two weeks ago.

After two strong narrative explorations of romantic relationships in the bitter winter of old age and the summer splendor of late youth (Away From Her and Take This Waltz, respectively), Polley redirected her interest in the world of human coupling by turning the camera on herself – or, more accurately, her family, or, even more accurately, who she thinks may be her family, or… Well, just see it if you haven’t already, because Stories We Tell is one of the more passionate, involving, and incisively intelligent mainstream documentaries to be released in quite some time.

AMPAS has had a history of recognizing more conservative, journalistic notions of “documentary” and shown favor for the crowd-pleasers (like this year’s Sugar Man-esque hit 20 Feet From Stardom). But that only speaks more in Polley’s film’s favor, as it potentially joins the ranks of other productively unconventional yet contemporaneously unrecognized documentaries that we continue to regard as seminal well after their release, like Errol Morris’ The Thin Blue Line.

Regardless of the reputation and recognitions of Stories We Tell, now or in the future, Sarah Polley is certainly a filmmaker whose consistently interesting output via only three feature titles behind the camera makes her one to follow. So here’s a bit of free film school (for fans and filmmakers alike) from a director who convinced us to treat Seth Rogen seriously as an actor.

Read the rest of this article from FilmSchoolRejects.

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