Curtis is in line with filmmakers such as Morin, Rouch, an Marker in making film essays, rather than expository dox; I guess you could file them under the reflexive mode, whereas someone like Godard in squarely in the performative mode. The Jacobin interview is pretty informative, although to take a filmmaker's words is to court disaster since they are notoriously bad at talking about their own films. His work is not about recapturing events, but the emotional content of presenting film and images to speak to real events, which documentary has the right to do, just like any other film. Otherwise films like *Bontoc Eulogy* (Fuenties, 1995), *Perfumed NIghtmare* ( Tahimik , 1977), or *San Soleil *(Marker, 1983) become tangled and loose their meaning in fact-checking. The important parts to consider are 1) Curtis has a huge audience, 2) His film are out there for free (like Scott Noble, the Ken Burns of radical film), and 3) the need for audiences to self-educate themselves through new media is a pressing issue that his work begins to answer.
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