Frederick Wiseman is a man who never rests. At 93 years old, he continues to create thought-provoking cinéma vérité documentaries that captivate audiences year after year. His dedication to his work is unwavering, as he has directed nearly a movie a year for the past 50 years. With 49 films already under his belt, his 50th film, “Menus Plaisirs – Les Troisgros,” will premiere at the Venice Film Festival on September 3rd. Wiseman’s passion for his work is evident as he describes it as his salvation and religion.
For the past half-century, Wiseman has crafted a series of films that provide complex and idiosyncratic portraits of American institutions. While the titles of his films may seem generic, such as “High School,” “The Store,” “Welfare,” “Law and Order,” and “City Hall,” their content is anything but. His films can evoke a range of emotions, from shock and terror in “Titicut Follies,” which exposes the inhumane treatment of patients in a Massachusetts asylum, to moments of humor, like in “Zoo” when female surgeons castrate a wolf while a nervous attendant watches. He also offers moments of inspiration, as seen in “In Jackson Heights,” a vibrant depiction of a multicultural community in New York.
Wiseman’s signature style is unmistakable, despite his absence from the screen. He presents a series of scenes from the everyday life of a group of people or an institution, without interviews, music, or identifying captions. His films lack a conventional narrative structure but instead focus on portraying the place itself as the main character. Wiseman’s films function as a panopticon, providing insights into American social structures, how they operate, and their impact on individuals.
His approach to filmmaking, known as “direct cinema,” has had a profound influence on other filmmakers. Oscar-winning filmmaker Laura Poitras credits “Titicut Follies” as one of her main inspirations, while French filmmaker Alice Diop was motivated to become a documentarian after watching Wiseman’s films. Even the Safdie brothers, known for their gritty dramas, acknowledge the influence of Wiseman’s film “Law and Order.” Venice has played a significant role in showcasing Wiseman’s work, premiering several of his films, including last year’s “Un couple,” his first narrative feature.
Despite his prolific career, Wiseman was primarily known as a TV director for many years. Most of his films were produced through PBS and were rarely seen outside the small screen. However, his recognition by the Venice Film Festival in 2014, where he received an honorary Golden Lion for his lifework, boosted the theatrical release of his films and sparked interest from other festivals and distributors. Although finding his films can still be a challenge, Wiseman is now digitizing his old films to make them more widely accessible for theaters, festivals, and streaming platforms.
As Wiseman digitizes his films, he has noticed recurring themes across his filmography. His fascination with human behavior, the different ways people try to help each other, and the complex relationships between men and animals are evident throughout his work. However, he emphasizes that these themes were not intentional or systematic but rather emerged through the process of making the films. Wiseman never conducts research before shooting; instead, he considers shooting the movie itself as his research.
Wiseman’s decision to focus on institutions stems from his interest in ordinary experiences rather than watching documentaries about famous people. He sees public institutions as a framework for examining ordinary experiences, as they are universal and exist in every society. He immerses himself in these institutions for weeks or even months, capturing hours of footage that he then meticulously edits down to a few hours. His goal is to find scenes that illustrate what goes on in these institutions, showcasing drama, trauma, comedy, and a wide range of human behavior. He aims to create sequences that not only depict the literal scenes but also raise more general and abstract questions about human behavior and the institution itself.
Although meetings may seem mundane, they play a crucial role in Wiseman’s films. He attends and includes meetings in his films because they are essential to the life and decision-making within the institutions he portrays. These meetings offer insights into how decisions are made and power is exercised. While Wiseman’s films may not display overt political agendas like those of Michael Moore, they are driven by a strong ethical sense. He rejects the label of objectivity for his films, acknowledging that his choices as a filmmaker shape their content. However, he believes his films are fair accounts of his experiences during the filmmaking process.
In summary, Frederick Wiseman’s body of work spans half a century and consists of cinéma vérité documentaries that provide unique portraits of American institutions. His dedication to his craft is unwavering, and his films continue to captivate audiences with their raw and unfiltered depiction of everyday life. Despite being considered a primarily TV director for many years, recent recognition from the Venice Film Festival has given his films a theatrical platform. As he digitizes his old films, they will become more widely accessible, allowing audiences to appreciate the depth and breadth of his filmmaking legacy.
