I'm a bit behind the curve on this news, but since it was rather buried beneath the surge of autumn Oscar-contender updates, I thought it worth flagging up anyway. I've recently been combing the US release calendar for possibilities in the Best Documentary Feature race, looking in particular for the slightly left-of-center contenders that routinely pop up in the branch's shortlist -- the eligibility rules may have changed this year, but we have no reason to think voters will suddenly start focusing more intently on much-hyped frontrunners.
In doing so, I found myself wondering what became of "Stories We Tell," Sarah Polley's lovely non-fiction debut -- a critical hit at the Venice and Toronto festivals that did rather well for itself by scoring a US distribution deal with a relatively high-profile indie outfit, Roadside Attractions. In recent years, Roadside has been a tidy little player in the Oscar race, scoring major nominations for "Winter's Bone," "Biutiful," "Albert Nobbs" and "Margin Call," in all cases against significant odds. However, they made their name with the Academy in the documentary race: founded in 2003, they landed their first nod less than two years later with "Super Size Me," and took the win five years later with "The Cove."