Well over halfway through the Telecom 37th Auckland International Film Festival I am now beginning to lose track of days, times and cinemas. This last week has seen me take in my share of documentaries, and this year’s bunch has certainly not disappointed. Amongst my picks were: Tarnation, The Devil and Daniel Johnston, Overnight, and Grizzly Man. All of these were gripping cinematic experiences with very different styles of production but with one commonality – enthralling subject matter.

Tarnation was, by my call, the hardest watch of the four. I think the production was standout. Jonathan Caouette has obvious talent, cutting together material in ways that border on genius. This film is like a fragile mind’s therapeutic outlet. Unfortunately the other lives nailed on Caouette’s cinematic crucifix seem unwilling sacrifices. Watching it made me feel like such a voyeur. Still I wouldn’t have missed it. Will be interesting to see if he can make something even half as thrilling without 20-odd years of footage to work with.

The Devil and Daniel Johnston had, by far, the most conventional narrative construction. I approached this film with little knowledge of its subject, having been gifted a CD of his music and a couple of stories by a friend the week before. Following hot on the footsteps of Tarnation I was unmoved by the filmmaker’s opening attempts to portray Daniel’s young life as particularly troubled. However, as the film rolled on it became clear that this individual has a story that is both incredibly sad, and simply incredible. Director Jeff Feuerzeig had unbelievable amounts of video and audio footage to work with. It seems as though most of Daniel’s life has been documented in some way. What captured me most was the zestful, almost childlike naivety with which he approached life, dulled slowly by necessary medication and hospitalisation. It turned out the garbled stories that had reached my friend were even more bizarre in reality.

Overnight chronicles the larger than life personality of Troy Duffy and how it rocketed, then ruined his career as both a musician and a filmmaker. Connoisseurs of uncomfortably awkward moments will love this documentary. It’s hard to believe that at no stage during the footage (that made the cut) did Duffy call for ‘cameras off’. Overnight is no brilliant feat of filmmaking, but with Duffy as subject the filmmakers were always going to have a gem – no matter which way his fortunes turned. As a documentary the film feels almost accidental; a ‘Making of…’ that mutated into something more. That they kept filming is to their credit and after the treatment they receive at the hands of Duffy you feel that they “deserve” this monument.

Last on the list is Grizzly Man. Of the four this shows the most evidence of great filmmaking. What could easily have been an exploitative, voyeuristic piece Werner Herzog instead fashions into a sensitive and moving exposé of a soul obsessed. Herzog lets Timothy Treadwell tell his own bizarre story, then colours it with commentary of his friends and family and lastly shares his thoughts on the life and significance of this surreal individual.

Each of these documentaries presents a very different style of story telling. They are together humorous, poignant and unnerving. I’m glad that I managed to get to them and would advise seeing at least one, if not all.—JP