As my own exposure to Formula 1 racing is minimal, maybe even non-existent, the extent to which I enjoyed Asif Kapadia‘s Senna is altogether remarkable. While, yes, any good documentary shouldn’t appeal to certain personal interests in order to function on qualitative levels, it was more an experience with form than content: taking a subject I often find monotonous and dull, then turning it into a point of focus equally galvanizing and affecting.
This is all a long-winded way of saying that Kapadia‘s developing documentary on Amy Winehouse, detailed in Variety, is something which, despite distance from the subject, requires attention. Less than two years after dying from the effects of alcoholic abuse, her story is finding itself packaged in a film which the director and his producer, James Gay-Rees, call an “emotional and relevant film that has the power to capture the zeitgeist and shine a light on the world we live in, in a way that very few films can.” A high mark to set for yourself; the attention paid toward her public / personal downfall is, at this moment, the clearest chance to deliver such a thing. Any experience which recalls Kapadia‘s most recent feature should do fine, really.
Gay-Rees returns from Senna to produce via he and the director’s Playmaker Films. Focus Features will begin selling rights at Cannes.
Do you think Kapadia can recapture the Senna magic in shifting from racing to music?
Since any New York City cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not […]
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