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"At this year&amp;#x27;s Tribeca Film Festival, I saw movies that made me guffaw, tear up, and even reconsider the supernatural (thanks to Elizabeth Moss and Mark Duplass in The One I Love&amp;amp;#8212;you can read more on that in Caitlin&amp;#x27;s review of the festival). But it was the stories of three icons that were the festival&amp;#x27;s shining stars: James Brown, Raf Simons, Justin Peck&amp;amp;#8212;men who have each made momentous impacts in their fields and have shaped what we know about music, fashion, and the arts today. Untitled James Brown Documentary, Dior and I, and Ballet 422 have kept me boogying, strutting, and pirouetting long after stepping out of the theater. The 1960s were a racially and politically charged decade in our history, agreement uncommon. But when it comes to James Brown, I don&amp;amp;#8217;t think anyone can argue: The man is the reigning king of funk, and the film captures that spirit perfectly. Director Alex Gibney creates a visual collage that personifies Brown&amp;#x27;s impact on fans, musicians, and politicians alike, while demonstrating the legacy the &amp;quot;Godfather of Soul&amp;quot; has left. Untitled James Brown Documentary was a front row seat to what would be the James Brown Greatest Moments Show, and I want an encore, please please please. Next we travel to modern day Paris&amp;amp;#8212;30 avenue Montaigne to be exact&amp;amp;#8212;where we enter the uber-private Dior atelier (the french word for workshop). The film opens with the introduction of newly-appointed Creative Director Raf Simons (formerly of Jil Sander) to the House of Dior, who is due to present his first haute couture collection ever in two months&amp;#x27; time. We join Simons while he acquaints himself with the seamstresses, tailors, designers, and executive team who bring his magnificent vision to life, and pays homage to the late Christian Dior himself. Even the least fashion-y of us can appreciate the beauty of Dior and I&amp;amp;#8212;the precision, imagination, and exquisite amount of work that go into the making of a runway show is enough to blow your mind. (LOOK AT THOSE FLOWER WALLS!) And, finally, we land back in New York City, where director Jody Lee Lipes profiles 25-year-old Corps de Ballet member and all-star choreographer Justin Peck, who is tasked with composing the New York City Ballet&amp;#x27;s 422nd original piece (hence the title, Ballet 422). Another intimate portrayal of a work of art coming to life, this film twirls you inside the studios and on the stage with the most talented ballet dancers in the world (those legs!). And as a fellow 25-year-old, I must say: Justin Peck inspires me to leap just a little bit further. So, there you have it: three great men of different generations who have and continue to create awe-inspiring art and bring joy to people&amp;#x27;s lives. And, of course, the great filmmakers who brought their stories to the big screen. Now, please excuse me while I chant &amp;quot;He ain&amp;#x27;t no drag, papa&amp;#x27;s got a brand new bag&amp;quot; for the rest of ever (while anticipating the return of Mrs. Doubtfire, and wondering the outcome of AT&amp;amp;T&amp;#x27;s #FilmForAll competition which will be screened across all five NYC boroughs this summer!). "^^<http://www.w3.org/2001/XMLSchema#string>
<http://www.glamour.com/entertainment/blogs/obsessed/2014/04/best-documentaries-tribeca>