TORONTO — New pics from Errol Morris, Werner Herzog and Kim Longinotto are among 12 docus world-preeming next month at the Toronto Film Festival.
Wednesday morning’s announcement adds 25 docus to the lineup, most screening in the Real to Reel sidebar. Fest reps said more docus will join the slate in the coming weeks.
Full details of the avant-garde Wavelengths program were also unveiled.
Never-before-seen footage of Bruce Springsteen and the E Street Band shot in the mid-1970s reveals the creative process behind the band’s fourth album, “Darkness on the Edge of Town,” in Thom Zimny’s “The Promise,” worldpreeming as a Gala.
Never-before-seen paintings made in the Chauvet caves 30,000 years ago are explored via custom-built 3D technology in Herzog’s much-tweeted-about “Cave of Forgotten Dreams,” likely to be one of the fest’s hottest tickets.
Political downfall is explored in Alex Gibney’s world preeming “Client 9: The Rise and Fall of Eliot Spitzer”; falling down is part of the action in Frederick Wiseman’s Austin-shot “Boxing Gym,” receiving its international preem; and a bad fall is dissected in “No End in Sight” helmer Charles Ferguson’s “Inside Job,” about the recent financial crisis. Both “Inside Job” and “Boxing Gym” world preemed at Cannes.
Women’s stories figure prominently in Real to Reel.
Morris (“The Fog of War”) tracks a former Miss Wyoming’s public quest for true love in “Tabloid,” while Longinotto follows Indian activist Sampat Pal Devi’s quest to combat violence against women in “Pink Saris.”
Naomi Kawase’s “Genpin” (filmed at a natural childbirth clinic), Guo Jing and Ke Dingding’s “When My Child Is Born” (young academics facing unexpected pregnancy in modern China) and Lynn Hershman Leeson’s “!Women Art Revolution! A Secret History” (a four-decade cultural history of women artists) will world preem.
Paul Clarke’s “Mother of Rock” (a portrait of music champion Lillian Roxon) and Shlomi Eldar’s “Precious Life” (in which an Israeli pediatrician helps a Palestinian mother) receive their international preems.
Military matters are on the docket with Cannes Critics’ Week winner “Armadillo,” Janus Metz’s portrait of Danish troops in Afghanistan; world-preeming “ANPO,” Linda Hoaglund’s look at artists’ resistance to U.S. bases in Japan; and “Tears of Gaza,” Vibeke Lokkeberg’s record of the 2008-09 Gaza bombings.
Ondi Timoner’s world-preeming “Cool It” follows author Bjorn Lomborg (“The Skeptical Environmentalist”). Small communities battle different kinds of energy companies in Risteard O. Domhnaill’s “The Pipe” and Laura Israel’s “Windfall,” both receiving their international preems.
Lesser-known areas of popular culture are explored in Mark Hartley’s “Machete Maidens Unleashed!” (about genre filmmaking in the Philippines) and, in the family-friendly Sprockets sidebar, J. Clay Tweel’s Los Angeles fest prizewinner “Make Believe” (about teen magicians), both receiving their international preem. Christophe Nick and Thomas Bornot’s “The Game of Death” (based on a 1960s experiment about the limits of punishment) and Sarah McCarthy’s “The Sound of Mumbai: A Musical” (in which poor kids perform with a classical orchestra) receive their North American preems.
Masters program includes the world premiere of Jorgen Leth’s autobiographical essay “Erotic Man” and the North American preem of Patricio Guzman’s “Nostalgia for the Light,” which contrasts astronomers in the Chilean desert with local women sifting for remains of relatives lost during Pinochet’s regime.
Wavelengths celebrates its 10th anniversary this year, offering six programs featuring 36 experimental films and videos. Highlights include recent work by Thom Andersen (“Get Out of the Car”), James Benning (“Ruhr”), Nathaniel Dorsky (“Compline,” “Aubade,” “Pastourelle”), Paolo Gioli (“Photo Finish Figures”) and Rotterdam best short winner “Atlantiques” by Mati Diop.