Baker picked up on Bigelow's idea of a fact / fiction hybrid by adding, «It's the cinema that I'm really finding the most fascinating right now and the most interesting, where that line is blurred between
narrative fiction filmmaking and documentary - style filmmaking.»
With «Stories We Tell,» which evades both the pitfalls of overly personal
filmmaking and those of
fiction - documentary hybrids — not to mention the philosophical trap of making a film «about
narrative» instead of simply telling a story — Polley has delivered the first masterpiece of what promises to be an important career.
Biennale di Venezia, biennial, concept, contextual, digital, digitalisation, documentary, exhibition,
fiction,
filmmaking, Florian Ebner, freedom, functional, globalisation, Hito Steyerl, identity, ifa, image, imagination, installation, Jasmina Metwaly, light, material, media, metamorphosis, migration, Museum Folkwang,
narrative, national pavilion, Olaf Nicolai, optimisation, participation, pavilion, Philip Rizk, photography, politics, power, production, reflection, resistance, testimony, Tobias Zielony, tradition, Venice Biennale, video, virtual, virtuality