
Filmmaker shows an FLDS cult attacked from inside and outside Don Argott's documentaries, such as The Art of the Steal (NYFF 2009) and Framing John DeLorean (2019), openly reject objectivity and show a penchant for siding with someone he thinks has been wronged. Something akin to this pattern pops up again in his new film about a branch of the extreme FLDS Church (The Fundamentalist Church of Jesus Christ of Latter-Day Saints) with the addition that he injects himself as an o... (Full plot summary below)
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Filmmaker shows an FLDS cult attacked from inside and outside Don Argott's documentaries, such as The Art of the Steal (NYFF 2009) and Framing John DeLorean (2019), openly reject objectivity and show a penchant for siding with someone he thinks has been wronged. Something akin to this pattern pops up again in his new film about a branch of the extreme FLDS Church (The Fundamentalist Church of Jesus Christ of Latter-Day Saints) with the addition that he injects himself as an observer whose coolness turns to sympathy over a period of years.
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| The New York TimesBen KenigsbergWhile the ethical issues of the property situation add complexity, the film’s efforts to balance the arguments on both sides aren’t convincing. |