Ennio (2024)

Direction: Giuseppe Tornatore
Country: Italy 

This illuminating, elucidative, and enthralling documentary delves into the life and work of Ennio Morricone, the most popular and prolific composer of the 20th Century. Directed by Giuseppe Tornatore (Cinema Paradiso, 1988; The Legend of 1900, 1998), the film establishes a genuine closeness with the artist. Classic in form yet highly informative, it is neatly structured and strikes a perfect balance. Tornatore skillfully intersperses interviews with key figures such as filmmakers, musicians, screenwriters, and collaborators, alongside insightful footage fragments from Morricone's different career phases.

Throughout the documentary, viewers uncover treasures from the legendary composer's journey. Morricone's father initially envisioned him following in his footsteps as a trumpet player, never imagining he would become one of the greatest film scorers in history. Described as enigmatic, discreet, serious, crazy, and innovative, Morricone candidly discusses his frustrations and triumphs, expressing only one regret: not collaborating with Stanley Kubrick on his 1971 masterpiece, Clockwork Orange. Despite grappling with criticism and feelings of guilt due to his involvement in film, the composer pushed himself even harder, consistently displaying originality and a penchant for experimentation.

Ennio takes audiences on an emotional journey without descending into melodrama, partially thanks to the masterful editing by Massimo Quaglia and Annalisa Schillaci, who keep things fluid and interesting. After watching this documentary, viewers may find themselves drawn deeper into Morricone's brilliant soundtracks and compelled to explore his musical genius further.

The Pigeon Tunnel (2023)

Direction: Errol Morris
Country: UK 

The Pigeon Tunnel lifts the veil on the life of David Cornwell, better known as John le Carré, the renowned author of espionage classics such as The Spy Who Came From the Cold, Tinker Tailor Soldier Spy, and The Constant Gardener. Weaving together sparse archival footage, newspaper articles, and re-enactments of Cornwell’s life episodes, this documentary frames a singular portrait of a man of mystery whose life inspired his literary masterpieces.

The notable documentarian Errol Morris, who excelled with The Thin Blue Line (1988) and Gates of Heaven (1978), takes on the role of interrogator and interviewer in a competent manner. However, despite an imposing score and enigmatic imagery, the film lacks a certain tension that one might expect from a spy-related narrative. Yet, the film compensates with interesting revelations and intimate details that will probably make fans and newcomers care.

The documentary delves into le Carré's complex relationship with his con artist father, Ronny, and mentions Kim Philby, a notorious spy for the Soviet Union and betrayer of the Queen, who held a deep admiration for le Carré's work. Its main strength lies in le Carré's secret life, shedding light on themes of betrayal, deception, duty, and morality. The eternal dance between manipulators and the subjugated is vividly portrayed, adding depth to the narrative. 

Although Morris' direction may be criticized for feeling somewhat static, there is a certain fascination in witnessing how le Carré, often labeled the ‘poet of self-hatred’, crafted novels that seamlessly blended imagination and personal experiences with unparalleled competency. The author died in 2020 at the age of 89.

All the Beauty and the Bloodshed (2023)

Direction: Laura Poitras
Country: USA

From the awarded documentary filmmaker Laura Poitras (Citizenfour, 2014; The Oath, 2010), All the Beauty and the Bloodshed examines the life, career and activism of American photographer Nan Goldin. The artist has spent the last few years chasing the Sackler family, the ones responsible for the opioid crisis that decimated thousands of lives across the world.

Goldin opens up about her difficult childhood, the trauma that came with the suicide of her older sister, her complex relationships, her work, her addictions, and her disapproval of the Sacklers, whom she confronted in court. Her continued activism forced several museums to reject their donations and remove their names from the galleries. 

The most revealing moment is when Goldin states how she officially entered the art world. Her personal work notably focuses on LGBT communities and related topics such as nightlife, Lower East Side parties in the 1980s, and AIDS - a condition that victimized many of her friends. All these are logically linked to her personal life. As the photographer ponders about the difference between telling stories and the real experiences lived, we get to know that she uses photography as as a way to walk through fear.

Poitras orchestrates a well-made, easy to digest documentary that creates a certain contrast by having everything in the right place in opposition to the protagonist’s irreverence. Goldin proves to be a true experimenter and survivor of our world.

Dry Ground Burning (2022)

Direction: Adirley Queirós, Joana Pimenta
Country: Brazil 

Directed with calm passion by Joana Pimenta and Adirley Queirós (White Out Black In, 2014), Dry Ground Burning is an interesting docufiction that teems with intimidating facts. Centered on the story of Gasolineiras de Kebradas, the film offers no clear calls to action but draws us in by delivering a cumulative exposure of the lives of three women from the Sol Nascente favela on the outskirts of Brasilia. 

Chitara (real name Joana Darc Furtado) made history as a gas hustler. After buying a piece of land crossed by underground oil pipes, she made a profitable deal with local motorcyclists and confesses that the world of crime absorbs her inescapably. Her half-sister, Léa, who did nine years in prison, is a gun expert and vigilante who dreams of opening a whore house. The twosome like to remember their father and get a bit nostalgic with stories from the past. Their friend, Andreia, is running for District Deputy with the Prison People Party. Her main goal is to end the police curfew at a time when Bolsonaro celebrates his presidential election victory and people shout on the streets: “Lula is dead”. 

The tough attitude, a consequence of a dangerous and coveted business, is sometimes surpassed by the importance of family, children and friends. Whenever these street warriors are not in action, this is a film of languid pauses and big close-ups. The scope is made palatable by the consistency of its focus and its dry, nearly post-apocalyptic look is reminiscent of Mad Max.

The Brazilian gangsta-rap and cheesy popular songs we hear also become vital for the mood the directors want to convey. This persuasive piece of filmmaking fuses crime and drama, showing not only the cost of lawlessness but also the power of these women.

Mr. Bachmann and His Class (2022)

Direction: Maria Speth
Country: Germany

Humble, didactic and humane, this German documentary about a veteran teacher and his ‘foreign’ students was able to captivate, even if it draws out with more than three and a half hours of footage. Nothing too dramatic happens, but there’s warmth, caring and understanding all around. It’s an inspiring account that vibrates with compassion and tolerance. 

The title character, Dieter Bachmann, has been teaching at the Georg Büchner Comprehensive School in Stadtallendorf for 17 years. At just one step away from retirement, this man earns all the respect and affection of young students (ages between 12 and 14) in need of support and encouragement, who are about to attend secondary school. His classes are exceptional, favoring music and conversation to German and math. These very special teacher-student relationships are what make the film remarkable. 

The lack of a cohesive thesis may frustrate at times, but this baggy report, even not breaking my heart, provides illuminating insights into cultural issues and demonstrates that quality education is possible for even the most disadvantaged students. The patient, just, and attentive Mr. Bachmann is an example for everyone, everywhere, and Maria Speth’s second documentary isn't just a necessity, it might change the future of some kids.

Moonage Daydream (2022)

Direction: Brett Morgen
Country: USA / Germany 

Moonage Daydream is an imperfect but ultimately satisfying documentary about David Bowie, a true artist from the stars, staunch experimentalist, beatnik traveler, and innovator with a unique personality and multiple personae, whose music continues to haunt and influence generations. Bowie’s fantastic path in arts and life is depicted as a psychedelic trip with flamboyant visuals, archival interviews, personal statements and ideas, and never-before-seen excerpts of live tours. 

Bowie’s favorite theme of isolation, deliberate androgyny (characteristic of his ‘70s phase), and self elusiveness are well addressed here, maintaining that mysterious appeal that not even his death was capable to erase. We have a vivid sense of his relationship with the universe and life, and between art and feelings.

In 2018, American documentarian Brett Morgen (Cobain: Montage of Heck, 2015; Jane, 2017) had access to the British singer's archives via the Bowie Foundation. What resulted from there is uplifting and will serve the curiosity of the musician’s followers, making them look at him with fresh eyes. But there’s a chance the others be disappointed with the way it was mounted. In my case, and without being dazzled, it was, at least, inspiring to see the alien rockstar romping majestically across the stage and flirting with many types of art.

Dreaming Walls (2022)

Direction: Maya Duverdier, Amélie van Elmbt
Country: USA

Dreaming Walls might not be taken as a model documentary, but its viewing also doesn’t hurt. It’s about the iconic Chelsea Hotel in Manhattan, New York, once the home of prominent artists and intellectuals during the bohemian years. Allow me to start this review with a caveat: anyone curious about the ghost-related mysteries - so diffused in the media - that involve the famous site in question is likely to be disappointed with The Dreaming Walls, which definitely doesn’t take that direction. 

The pair of Belgian directors, Maya Duverdier and Amélie van Elmbt, place their focus on the disputes of remaining tenants regarding the never-ending renovations, which will turn the twelve-story-building into a luxury hotel. There are also some nostalgic moments that bring back some glimpses of their bohemian artistic lives in the past. This is specially true for Mel Easter, a former dancer who became a major character in the film. Some archival footage is dovetailed, including a few scenes with the hotel’s longtime manager Stanley Bard, as well as some projections, and songs such as “Chelsea Girls” by The Velvet Underground & Nico.

Boasting Martin Scorsese as an executive producer, Dreaming Walls doesn’t have much beneath the surface. I felt there were too many aspects that could be better explored, as well as further digging to be done about current residents captured in their frustration, resignation and determination. The choppy editing denies the film a rhythm, making it a little stiff. Even missing great opportunities and far from mind-bending, this more-lugubrious-than-austere doc is pelted with an eeriness that lingers after the final credits roll. It likely won’t work for those who are not familiar with the course of the hotel over its nearly 140 years of existence.

Cow (2022)

Direction: Andreas Arnold
Country: UK 

In her first documentary, Andrea Arnold (Fish Tank, 2009; American Honey, 2016) turns the camera lens to a milking cow, Luma, and its calves, showing their daily routines over several years with an experimental approach that, besides purely visual, is non-judgmental. The idea came up seven years ago, and the outcome is raw and sufficiently explanatory with no need for voice-over or musical score. 

Shot with harmless gravitas, Cow projects a strange mix of roughness and awareness through carefully composed frames that show a predilection for extreme close-ups. Ruminative, unhurried and intimate, the doc is a fascinating insight into the life cycle of dairy cattle from a modern farm located in Kent, England. There are moments where Luma seems annoyed by the camera, staring inquisitively and beseechingly while calling a newborn calf taken away too early. 

We are witnesses of some uncomfortable procedures inflicted on these animals, which are not exactly free despite enjoying real moments of freedom. Informative, quite involving, yet inevitably repetitive, Cow could not have brought more into the fold. No one has heretofore captured cow life as Arnold did, but as a film experience, it should leave many unsettled.

Poly Styrene: I Am a Cliché (2021)

Direction: Celeste Bell, Paul Sng 
Country: USA

This revelatory documentary about the Londoner punk icon Poly Styrene, the first woman of color to lead a successful rock band in the UK and a strong influence on the riot grrrl and afropunk movements of the late 1970s, was co-directed by her daughter, Celeste Bell, and Paul Sng. With the Ethiopian-Irish actress Ruth Negga narrating excerpts of Poly’s personal diaries, the film also counts on Bell’s emotionally charged words, archival footage, and a few interviews with members of her one-studio-album band, X-Ray Spex (Paul Dean and Lora Logic) and family.

Styrene, who was born to a Somalian father and a British mother, had a difficult time dealing with identity. She was a staunch defendant of women liberation and became a counter-culture figure who also got exposure as an alternative fashion designer. Misdiagnosed with schizophrenia and told she would never work again, Poly ended up in a psychiatric ward before joining the Hare Krishna movement and set her own solo career. She had been negatively affected by the superficial lifestyle of New York and heavy drug consumption while living there.

According to Bell, she wasn’t always a good mother, but the film, besides serving the purpose of telling the musician’s story while providing some insight into the British social climate at the time, is elevated by a more affirmative mother-daughter relationship. The only quibble here is the repetition of the footage, but the film flows well, avoiding panegyric artificialities.

Procession (2021)

Direction: Robert Greene
Country: USA

The American documentarian Robert Greene (Kate Plays Christine, 2016; Bisbee ’17, 2018) turns his look at the child sexual abuse in the Catholic Church. Procession, his seventh film, documents the painful therapeutic process endured by six men who have been struggling with trauma all their lives. 

What’s interesting here is the different forms found by the victims in order to deal with the problem. Some are angrier than others, some are more anguished and less talkative, and some simply decided to forget most of the details. In all cases, the wounds are too deep to recover in full, a fact aggravated by the incredible lack of justice that normally involves these cases.

Greene’s documentary might have done a nice job in helping these traumatized men, but the film itself flows heavily, and our attention almost succumbs to its aimless structure and narrative fragmentation. It wasn’t bad, but the way it was presented was a bit of a letdown. With that said, the film still serves the purpose of exposing the evil kept hidden for so long and the debilitating consequences for those who fell into the hands of predatory clergy.

The Rescue (2021)

Direction: Jimmy Chin, Elizabeth Chai Vasarhelyi
Country: USA

The Rescue is an absolutely must-see documentary about 12 young soccer players (aged 11 to 16) and their 25-year-old coach who got trapped in a flooded cave in Northern Thailand during the monsoon season. The occurrence took place on June 23, 2018, and has moved the world, with people from everywhere setting foot in the Chiang Rai province where the Tham Luang Nam Non cave is located. With the danger looming, some never-attempted measures were implemented to make this a successful operation involving experts to volunteers. 

The directors and marital partners, Jimmy Chin and Elizabeth Chai Vasarhelyi, did another great job here, following up praised works such as Meru (2015) and Free Solo (2018). They narrate the facts with the help of footage, interviews and several explanatory images that don’t leave margin for doubt. Further detail emerges about the difficulties and pressure encountered on site, the myth and creeds behind the operations, and the diligence and generosity of many people, including the skillful English cave divers Rick Stanton and John Volanthen (true heroes who risked their lives), and the Australian Dr. Richard Harris, who besides being an experienced diver, was fundamental from a medical point of view. 

Suspenseful and powerful from minute one until the end, the film provides a harrowing look at how an apparently safe gathering could veer into a nerve-racking, life-threatening situation. It’s also a moving scenario of perseverance and faith. One advice, though: watch it with precaution if you’re claustrophobic and prone to panic attacks.

The Velvet Underground (2021)

Direction: Todd Haynes
Country: USA 

This documentary about the iconic American rock band The Velvet Underground was put together with imaginative visual collages by the renowned director Todd Haynes (Far from Heaven, 2002; I’m Not There, 2007; Carol, 2015), but it’s marred by basic flaws.

Mounted with a well-calibrated mix of archival materials, interviews, audio recordings and artful graphic mosaics, the film will mostly please the ones exceptionally familiar with the group, leaving the remaining viewers adrift. The reason behind this, is that the interviewees - author/film critic Amy Taubin, enthusiastic musician/fan Jonathan Richman, actress Mary Woronov and philosopher/musician Henry Flynt, only to name a few - are not properly identified as they detail several episodes that marked the group’s short yet influential existence. This major setback impedes the general audience to contextualize them on the picture since they don’t know which type of relationship they had with the Velvets. 

For obvious reasons, Lou Reed and John Cale were the foremost figures of this progressive quartet and, therefore, it’s perfectly natural that more time has been given to them, as well as to the German model/singer Nico, who joined them in their first album.

Besides following the group’s story (more than their music), the film stresses the disagreements between Reed and Cale, which resulted in an early change of line-up, as well as the symbiotic relationship between the band and its manager/producer, the pop-art artist Andy Warhol, who allowed them to perform regularly in his New York City studio - The Factory. 

It’s not a great documentary, yet fairly informative and entertaining.

Val (2021)

Direction: Leo Scott, Ting Poo
Country: USA

This documentary, co-directed by Leo Scott and Ting Poo, about the career successes and health struggles of American actor Val Kilmer, uses precious footage captured by the actor himself throughout the years, from family gatherings in his childhood (with the help of his two brothers) to auditions to the present time. 800 hours of footage were narrowed down to only 108 minutes, a fact that turned to be the best feat of the film.

Kilmer, who started being noticed in the mid-80s (primarily with Top Gun, 1986) and attained a career peak in the early 90s with his personification of Jim Morrisson in Martin Scorsese’s The Doors, (1991), fought an aggressive throat cancer that left him nearly speechless. Now, he uses a voice box to express himself but his son Jack narrates the film in his behalf. 

As passionate about its subject as the actor was about acting, the film tells Kilmer’s story intimately, with compassion, without never going into unnecessary sentimentality. Yet, this self-portrait of the star is not as powerful as I had imagined, even losing its track a bit by the time that Kilmer’s film Cinema Twain (2019) is mentioned. It’s an OK watching, not a fascinating one.

State Funeral (2021)

Direction: Sergey Loznitsa
Country: Lithuania / Netherlands

Assembled with previously unseen footage, propaganda taken from radio broadcasts and dramatic classical requiems (Chopin and Mendelssohn included), Sergey Loznitsa’s State Funeral is a long, mournful dirge focused on the days that preceded the funeral of Soviet dictator Joseph Stalin in March 1953.

The images, toggling between color and black-and-white, capture the vast hordes of mourners across the USSR, elucidating about the cult of personality enjoyed by an authoritarian leader who was responsible for the torture and death of millions of people. 

The deceiving machine behind Stalin and his regime praises him as the greatest genius of humanity with glorious deeds toward peace and ethnic integration. These misleading strategies are still employed by Russia today, brainwashing people and keeping them under rigid control. A weird feeling arises when you see a whole nation and its army crying for a mass murderer.

The Ukrainian director, whose penchant for desolation and violence was seen in powerful dramas like My Joy (2010) and In the Fog (2012), feels at home with the material, reconstructing the scenarios with the help of regular collaborator and editor Danielius Kokanauskis, who shortened 40 hours of footage to 135 minutes.

Packed with the faces of consternation and tears of despair, State Funeral is both remarkable and tedious.

The Sparks Brothers (2021)

Direction: Edgar Wright
Country: UK / USA

This music documentary directed by Edgar Wright (Shaun of the Dead, 2004; Hot Fuzz, 2007; Baby Driver, 2017) about the odd, cartoonish and enigmatic group Sparks - composed of inseparable brothers Ron and Russell Mael - becomes overlong and unexciting as we are informed about the duo’s changes in style throughout the years (from proto-punk and glam-rock to danceable synth-pop and experimental dance-rock) and collaborations not only in music (Giorgio Moroder, The Go-Go’s Jane Wiedlin) but also in the movies (they wrote the script and compose the music for Leos Carax's musical Annette, and almost worked with Jacques Tati). The bizarre and kitsch glamour in their looks is also topic.

Employing too many interviewees in its lopsided structure - including music personalities such as Beck, Flea, Vince Clark, Thurston Moore, John Taylor and Nick Rhodes, as well as fans of the band - Wright affects the flow of the film, which stutters with repetition and monotonous episodes.

As the self-indulgence imposes, the film offers less and less. It’s difficult to imagine much of an audience for The Sparks Brothers; at least, some other than the cult-like admirers that idolize them.

Summer of Soul (2021)

Direction: Ahmir “Questlove" Thompson
Country: USA

This clear-eyed music documentary directed by hip-hop/neo-soul artist Ahmir “Questlove" Thompson (from the band The Roots) puts on view unseen footage of the 1969 Harlem Cultural Festival, which sat unpublished in a basement for 50 years. The six-week event took place at Mount Morris Park in a hot summer and got virtually no publicity when compared to Woodstock, despite counting on impressive performances from major black artists. The film elucidates that the festival wasn’t just about the music but also about the proud of being black, the demand for change and the necessity of progress for the African-American people and Latin communities. The time was of political and racial unrest, more important concerns of the Harlem population than the same year’s moon landing of the Apollo 11. People clearly needed that music to drive away depression and white repression.

Questlove interviewed both attendees and public figures, and the performances were varied, going from soul/funk and gospel (Stevie Wonder, Sly & the Family Stone, The Staple Singers) to jazz (Nina Simone, Max Roach/Abbey Lincoln, Herbie Mann, Sonny Sharrock) to Latin/world music (Mongo Santamaria, Ray Barretto, Hugh Masekela). Also the blues (BB King) and the Motown sound (Temptation’s David Ruffin, Gladys Knight) served to delight the enthusiastic crowd.

As a melting pot of killing grooves and a vibrant push on the civil rights movement, the festival, which was born from a bold initiative by Tony Lawrence with the support of the mayor of New York, John Lindsay (a charismatic Republican who was popular among black people), was a rejoicing experience. Trust me, the heat is real and the communion incredible.

Collective (2020)

Direction: Alexander Nanau
Country: Romania

This elucidative Romanian documentary directed by Alexander Nanau (Toto and his Sisters) follows a tenacious investigation led by Gazzete’s journalist Catalin Tolontan who, alongside a small team, disclosed governmental and corporate corruption related to the rotten Romanian health care system. 

People moderately injured by a fire in the Bucharest night club Colectiv succumb due to bacteria in a hospital with improper disinfection policies. 

The findings led to massive public protests and then to the resignation of the Minister of Health, prompting the new one, Vlad Voiculescu, to cooperate with the journalists and take unprecedented measures. Corrupt hospital managers and politicians  were identified together with negligent medical staffs. Still, in the end, we are consumed by the frustration that arises from unpunished bribes and a fraudulent, dysfunctional Romanian state.

Solidly structured and incisive in its observations, the film never leaves you in doubt, showing that the truth is way too hard to digest. What we see here is not pretty - it’s simultaneously scary and infuriating to realize that people who are paid to guarantee a proper functionality of a health system don’t give a damn if you live or die. Collective leaves us speechless, but, fortunately, honest journalism still exists.

Crock of Gold: a Few Rounds with Shane MacGowan (2020)

Direction: Julien Temple
Country: UK

I was never a big fan of The Pogues, but I remember to have read interesting stories about its frontman, the rebellious Irish punk Shane MacGowan, who is the subject of this engrossing documentary directed by the British director Julien Temple (The Filth and the Fury, 2000; London: the Modern Babylon, 2012). 

The title of the film partly stems from the novel by the Irish writer James Stephens, which already had lent its name to the sophomore album of MacGowan’s post-Pogues band, The Popes, while the few rounds certainly takes my mind to his long-lasting alcohol addiction. The singer/songwriter talks about his childhood, spent at a farmhouse in Tipperary, Ireland, where he started to drink at the age six. He also weighs in on the IRA and the Irish War of Independence, his nervous breakdowns, acid trips, heroin and alcohol dependency, lost and regain of faith, his love/hate relationship with England, and many more episodes that made his life so singular.

Expertly structured, the film intertwines conversational segments between MacGowan and the former Sinn Féin president Gerry Adams as well as the actor Johnny Depp, terrific animation sequences by the legendary illustrator Ralph Steadman, unseen archive footage from The Pogues in concert, and statements of elucidation by Shane’s sister, Siobhan.

The resulting documentary is a sincere, funny look at the wild life of a poet/musician, who, emerging here as a survivor of all types of excesses (even musical), is brutally honest when dealing with the life he chose and the circumstances that made him who he is. By the way, MacGowan will also be remembered for his oddly contagious laugh.

Zappa (2020)

Direction: Alex Winter
Country: USA

This documentary about the American rock star Frank Zappa is moderately fluid as well as competently organized and edited, but don’t expect much insight about the compositions and the music itself. Above all, one catches wind of the peculiar personality and activism of a perfectionist workaholic whose complex ideas had never stopped coming in torrents. 

His unusual approach and love for unorthodox music (Edgard Varèse, Igor Stravinsky) established high standards for the other musicians to perform, a stunning fact considering that he was a self-taught composer and instrumentalist. The constant financial struggle never dissuaded him from doing his own thing, rather making him the first artist to go completely independent as he was only interested in quality work, not commercial success.

Controversial enough, Zappa was a prominent figure in the defense of musicians’ rights against censorship and was idolized in Czechoslovakia, where he was appointed Special Ambassador to the West on Trade, Culture and Tourism by president Vaclav Havel.

The film, directed by Alex Winter (The Panama Papers), is jam-packed with information and stressed to the limit, but a closer look at the course of events makes us conclude that a trim would not be viable without jeopardizing the outcome. The unflashy exposition includes appearances of people who were close to him - his wife Gail Zappa and musical collaborators Mike Keneally, Steve Vai, Alice Cooper, Ian and Ruth Underwood among them - and ends with Zappa’s memorable last concert with the Frankfurt-based Ensemble Modern, an orchestral collaboration immortalized with the album The Yellow Shark in 1993. 

Zappa fans won’t want to miss this.

Beastie Boys Story (2020)

Direction: Spike Jonze
Country: USA

This is an atypical documentary about the hardcore NYC band Beastie Boys - made famous for merging punk rock and hip-hop in an explosive way - directed by Spike Jonze. The latter's extensive filmography has been filled with inventive fictional accounts such as Being John Malkovich (1999), Adaptation (2002) and Her (2013), as well as short music videos for Bjork, Sonic Youth, R.E.M., and many other artists coming from all kinds of genres.

In front of an audience, with a huge screen behind them displaying archive footage, photographs and music clips, Michael Diamond (a.k.a. Mike D) and Adam Horovitz (Ad-Rock) share the stage of the King’s Theatre in Brooklyn to tell their story and how they became obsessed with rap after hearing Run DMC. 

The irreverence and insolence of the trio, both found in concert and in real life, are acknowledged by these, now mature, rock stars, who admit that their biggest goal was always to make each other laugh. They talk about their influences, the momentary tiredness of touring, the constant necessity of change, triumphs and disappointments in the music business, and the painful loss of the third Beastie Boy, Adam Yauch (MCA), in 2012 to cancer.

Informative but feeling somewhat ‘naked’ in its step-by-step narrative, the film has its most interesting moments when the personalities of the members are explored through a recaptured past immersed in controversy and attitude. The musical moments should be more abundant, and it’s easy to guess that the film might become insipid if you’re not a fan of the band. Otherwise, expect a fun, nostalgic ride to the idiosyncratic world of the Beasties. No sabotage allowed.