The King / Cuba and the Cameraman

This week we cover documentary films that at first appear to be about a bunch of wildly different ideas but then manage to tie it all together under a coherent and satisfying theme. THE KING is reviewed followed by an interview between Bart and the director of CUBA AND THE CAMERAMAN.   Group Review Documentary: THE KING - (2018) / USA (Director: Eugene Jarecki; Producers: Eugene Jarecki, Christopher St. John, Christopher Frierson, David Kuhn) Available in select theatres   Film Featured in Interview Portion: CUBA AND THE CAMERAMAN - (2017) / USA (Director: Jon Alpert; Producers: Jon Alpert, Matthew O'Neill, Tessa Treadway) Available to stream on Netflix   Other Documentaries Mentioned: Berlin Symphony of a Great City / 1927 (Director: Walter Ruttman) Bowling for Columbine / 2002 (Director: Michael Moore) County Fair Texas / 2015 (Director: Brett Whitcomb) Elvis 56 / 1987 (Directors: Susan Raymond, Alan Raymond) Ex Nihilo / 2017 (Director: Timo Wright) F For Fake / 1977 (Directors: Orson Welles, Oja Kodar, François Reichenbach, Gary Graver) Fast Cheap and Out of Control / 1997 (Director: Errol Morris) Fog of War / 2003 (Director: Errol Morris) Freedom for the Wolf / 2017 (Director: Rupert Russell) GLOW: The Story of The Gorgeous Ladies of Wrestling / 2012 (Director: Brett Whitcomb) How the World Went Mad / 2018 (Director: Rupert Russell) Instant Dreams / 2017 (Director: Willem Baptist) A Life in Waves / 2017 (Director: Brett Whitcomb) Man with a Movie Camera / 1929 (Director: Dziga Vertov) RKO Productions 601: The Making of ‘Kong, The Eighth Wonder of the World / 2005 (Writers: Ron Magid and Phil Savenick) Sherman’s March / 1985 (Director: Ross McElwee Where to Invade Next? / 2016 (Director: Michael Moore) Why we Fight / 2005 (Director: Eugene Jarecki)   Timestamps: 03:20 - Intro discussion about tying together disparate ideas into a cohesive theme 14:55 - Group review of THE KING 24:42 - Bart Interviews Jon Alpert of CUBA AND THE CAMERAMAN 15:08 - Doc Talk   Website/Email: www.fogoftruth.com [email protected]   Credits: Artwork by Hilary Campbell Intro music by Jeremiah Moore Transitional music by BELLS (thanks to Christopher Ernst)