![]() The best of the three by far is Lana Wilson’s “Pretty Baby: Brooke Shields,” a study of a woman who was hyper-sexualized by the Hollywood machine at a very young age. ![]() And yet, what’s funny is how these three films prove that even the bio-doc can range in quality as there’s a distinct hierarchy in these three efforts. Three profile docs from Sundance almost feel like they’re in conversation with each other, targeting the thousands of people in the audience who were children of the ‘80s that read Judy Blume, listened to the Indigo Girls, and watched Brooke Shields. Occasionally, a bio-doc can break form (like Brett Morgen’s fantastic “ Moonage Daydream”), but too many documentary creators are content to adopt a “then this happened” approach to telling the private story of a public life. Often called a “talking head doc,” these movies require minimal effort and typically offer very little insight. ![]() ![]() It’s a form of non-fiction filmmaking that often drives me a little crazy as filmmakers too commonly dismiss form to plant a camera down in front of someone willing to tell anecdotes about somebody they used to know. ![]() It wouldn’t be Sundance without a half-dozen or so profile docs. ![]()
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