Almost There Screen 5 articles

Almost There


Almost There Poster
  • Typical of Kartemquin documentaries, this strikes a balance between character study and social study, as the filmmakers ask us to consider how our communities care for isolated individuals who are elderly or mentally ill.

  • Mr. Rybicky says in voice-over: “If Peter was going to choose to stay in that house, we couldn’t be responsible for him anymore. So we stepped back to film what would happen and hoped for the best.” That pronouncement somehow sums up what’s both arresting and queasy-making about this well-put-together movie.

  • Anton’s art and Almost There are both expressions of how one sees the world and their place in it, of the ways in which we construct media to shape personal narratives in order to become who we want to see, the truths quite often hidden behind a presented facade. It is a documentary that leads with a complex compassion and that tests the very nature of one’s character.

  • [Anton is] apologetic about not being truthful to the filmmakers, but doesn’t regret what it’s done to the film... Yet Rybicky goes one further than exposing the seams of the doc filmmaking process. He interrogates similarities between Anton’s family and his own, which pushes the film past self-reflection into self-exposure. It’s rare for a film to be both sincerely outwardly and inwardly focused, and pretty much unheard of for one to explore, as Almost There does.

  • It is beautiful to watch the initial encounter, perhaps necessarily, spiral into all-too-human friendships, reflexivities, betrayals--and also, among poignant acts of forgiveness, an undeniable provocation to more deeply consider the nature of documentary practice itself.

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