Sunday at True/False is always a mix of feelings. There’s satisfaction at getting to see a bunch of docs with receptive audiences. There’s the bittersweetness of a good time coming to an end. And there’s a level of weariness. Who know that just watching a bunch of movies could be so exhausting? All that said, it was great to be back at True/False and to finish the festival with a solid slate of films:

Ramona (2023, Victoria Linares Villegas): This was the most “pseudo-documentary” of the bunch. An actress prepares for a movie role as a pregnant teenager by interviewing and building relationships with several actual pregnant teenagers. Eventually, she comes to realize that these young woman, and not her, should play the pregnant teen. The final act shows scenes from the “movie” cast entirely with the young mothers and their family members. The concept turns out a bit pretentious, but the young mothers-to-be are so charismatic, bringing a joy to a film that could have been quite maudlin.

Time Bomb Y2K (2023, Brian Becker & Marley McDonald): The filmmakers (who were 9 and 7 in 2000) revisit the hubbub surrounding the Y2K bug and the race to avoid the world falling apart. The film relies entirely on archival footage of news reports, interviews at the time, and personal video to simply tell the tale of hype and hysteria. That choice provides no insight into what it all meant. Theoretically, you can try to make some of those those connections yourself. Or, as I did, you can appreciate it as the 90s nostalgia trip it is.

Bad Press (2023, Rebecca Landsberry-Baker & Joe Peeler): My final film of the festival, which debuted at Sundance, was also my favorite. I love a good journalism movie and a good political movie, and Bad Press was both. We follow Angel Ellis and other members of Mvskoke Media, the media network of the Muscogee (Creek) Nation as they try to shine light on corruption within the tribal government. When the government of the nation repeals the tribe’s laws guaranteeing freedom of the press to suppress that coverage, Ellis and other fight to have that right protected in their constitution. Ellis is utterly compelling and the film is as tightly structured as any good political thrillers. Of all the films at True/False this year, this is the one to make sure to see if you get a chance.

And that’s it! It was great to get back to the festival in person after a few years away. Big thanks to the Ragtag Film Society and all of the sponsors and volunteers who make the festival work. Here’s looking to 2024!

(Photo credit: Tyler Graim, Sundance Institute)