Watching a Richard Dindo documentary is like seeing memory constitute itself before your eyes: Words, intonations, gestures, and especially silences are ordered into some approximation of what whirls inside our heads, both individually and collectively. The 16 films the Zurich-based director has completed since 1970--two of which will be introduced by Dindo at U Film Society this week--share several preoccupations, notably the contours of the artistic sensibility and Switzerland's mostly unspoken complicity in wrongdoing. Like Claude Lanzmann, Dindo contrasts placid tracking shots with unsettling reminiscences; like Errol Morris, he's intuitively sympathetic to oddballs, rebels, and outcasts. Yet his goals are more morally fraught than... More >>>