Guy Lodge Film Critic Who does a documentary truly belong to — the people who make it, the people who fund it, or the people it depicts?
On the face of it, the answer seems obvious: At a spiritual level, if not always a corporate one, we tend to think of art as the property of the artist.
Yet in dusting off a long-languishing nonfiction feature from the 1970s that was taken from its stymied director by his bankrollers and sent to the vault, Andrés Peyrot’s thoughtful, mirror-holding doc “God is a Woman” makes a compelling case for the third option.
With the old project terminally abandoned and its helmer no longer alive, it’s the Indigenous Panamanian community filmed in the first place who believe themselves the heirs to footage they’ve patiently waited half a century to see.
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