Raoul peck biography of william hill
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&#;Silver Dollar Road&#; Review: Raoul Peck&#;s Intimate Chronicle of a Black Family&#;s Messy Legal Battle
In , Raoul Peck released Exterminate All the Brutes, an extraordinary HBO docuseries chronicling the history of white supremacy, its mythology and the rise of fascism around the world. It was a powerful project that, like his Oscar-nominated documentary I Am Not Your Negro, presented a cogent thesis about the rötter of racism. In these works, the director foregrounded an essayistic narrative, using words to guide viewers through the brutality of Western civilization.
Peck takes a more conventional route in his latest documentary, but the results are no less stirring. In Silver Dollar Road, the Haitian filmmaker constructs an intimate teaterpjäs about one family’s decades-long struggle to protect their land from developer encroachment. The Reels’ story will be familiar to anyone attuned to the contradictions embedded in America’s legal system and the
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Raoul Peck Directing Documentary &#;The Hands That Held The Knives&#; On Assassination Of Haitian President Jovenel Moise
Raoul Peck, the filmmaker behind Academy Award-nominated documentary I Am Not Your Negro, is in production on his next feature doc — an investigation into the assassination of Haitian president Jovenel Moise, tentatively titled, The Hands That Held the Knives.
Over two years in the making, with unprecedented access to many of those involved, and including secret filming in Haiti&#;s prisons and an unexpected encounter with a fugitive who was an eyewitness to the murder, Peck&#;s film taking him back to his home country will be a documentary thriller, in the tradition of Graham Greene or John Le Carré.
His investigation takes him deep into the politics of Haiti, its relationship with the United States, and the corrupt business empires and criminal organizations — dealing drugs and contraband throughout the Caribbean, using weapons t
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So did you consider the film in some way continuing the work of that unfinished book?
Yeah, but I’m a filmmaker. I can’t tell a story just by deciding to tell a story, do it in a didactic way. I need to have my own emotion, to feel, wow, there is something I can discover, I can create. That came in the form of that project: it’s like a mystery book. It doesn’t exist. I say, wow, knowing Baldwin, the way he takes notes, the book exists for me. My job is to find it and put it together. All the pieces are there; it’s just a huge puzzle.
Baldwin, voiced by Samuel L. Jackson, is the narrator, but you illustrate a lot of what he’s saying with clips from the history of American cinema. Why the focus on movies?
It’s a visual film. It’s a film about the creation of image, the role of images, how images transport ideology, structure, point of views, perspectives. And Baldwin is also one of the few who had succeeded deconstructing [film], linking it to race in a way that is phenomenal.