The True/False Film Festival in Columbia, Missouri is a documentary festival that is respected and celebrated for numerous justifiable reasons. Taking place this year from March 5-8, Filmmakers and critics praise the festival for its effective programming and advertising, audiences love the vibrant atmosphere, and the city benefits immensely from the influx in business. Personally, I’ve had the pleasure of calling Columbia home for the last four years, granting me access to one of the world’s most unique film festivals. However, there might be one aspect of the festival that trumps the visible, local flourish. Films at True/False bring attention to current global issues that might otherwise be accessible only through the lens of the media. True/False prides itself on its documentary programming, streamlining urgent topics that demand a reaction.
One such film in this year’s roster is Maidan, a film by Sergei Loznitsa. The film documents aggressive protests that took place from 2013-2014 in and around Maidan Nezalezhnosti, the central square of Kiev, Ukraine. The film utilizes participatory journalism techniques in order to place the viewer among the front lines of revolution, forcing anyone who sees it to come out talking about the situation in Eastern Europe.
A film that counteracts this urgency is the patient unfolding of a Russian girl’s life in Hanna Polak’s Something Better to Come (Yula’s Dream). This documentary employs the revolutionary concept of extreme production lengths, documenting the life of a girl from age 10 to 24. The film explores adolescence and coming-of-age on the outskirts of urban Russia, a bit outside the reach of the ever-present government.
Moderated conversations with featured filmmakers are another intriguing draw of the festival. One such conversation is titled “Living Rough”, which explores the moral ambiguity of filming and gathering information in dangerous situations or locations. The director of Something Better to Come, Hanna Polak, is one of the featured guests in this discussion.
True/False is quickly becoming a routine stop on the film festival circuit, and its popularity justly matches its acclaim. The documentary emphasis places True/False in a special category of film festivals; the crowd in attendance includes enthusiastic filmmakers and cinephiles that seek truth through real-world subjects. This mutual appreciation for intimate portraits and forward thinking brings festival goers together as a unique, progressive community.
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