At Berkeley

“From 1967 to the present, Frederick Wiseman has built one of the most formidable bodies of work in cinema. His masterfully constructed documentaries (Wiseman has a sense of structure and of character to rival that of any fiction filmmaker) have examined the inner workings of institutions, undertakings, and ways of life great (WELFARE) and small (BOXING GYM), joyous (LA DANCE) and harsh (NEAR DEATH). In his new film, he looks at the University of California, Berkeley, as always from multiple angles—the administrators as they try to reconcile the school’s storied past with its fiscally grim present, the students as they try to reconcile their ideals with the realities of their world, the maintenance staff, the local shops and restaurants—in order to arrive at a portrait that is rich in detail and epic in scope. Wiseman, now a very youthful 83, is one of our most vigorous filmmakers. He is also one of our greatest.”—New York Film Festival.

Genres: Documentary

Other Films by Frederick Wiseman

The Store

In this fly-on-the-wall examination of the surrealism of the everyday, Wiseman points his camera at the flagship luxury department store Neiman Marcus in Dallas, Texas, during the 1982 holiday season and the height of fame of landmark TV series Dallas. Wiseman, granted unprecedented access to the store’s day-to-day operations, from sales meetings to showrooms, shows us

Meat

After spending much of the 1960s and early 1970s examining the complexity of official institutions of American life—the school, the court, the military, bureaucracy—Wiseman here turns his lens toward the food industry, specifically the production of beef and lamb. At times grisly but wholly incisive, MEAT is more than a precursor to politically aware documentary

Titicut Folllies

“Frederick Wiseman burst onto the scene in 1967 with what remains his most controversial film, a detached yet rigorous examination of the conditions at a mental health facility. Set in Massachusetts’ Bridgewater State Hospital for the criminally insane, the film peers relentlessly at the routine humiliations enacted by the guards upon the inmates, which range