Gabe Elder

Gabe Elder’s name keeps popping up if you’re into documentaries with a pulse—someone who makes you feel like you’re right there in the room. Take “Familiar Touch” (2024). It’s not just another run-of-the-mill doc; it gets under your skin, poking at what’s intimate and a little bit raw. The way Elder pieces together everyday moments, you almost forget you’re watching someone else’s story—it’s got that weird, voyeuristic comfort, like reading someone’s diary by accident and not wanting to put it down. Then there’s “The Sparks Brothers” from 2021, which, honestly, is just a wild ride if you dig music history. Elder doesn’t shy away from the oddball energy of the Mael brothers. The film is packed with wry humor and a real love for their weirdness—he’s not afraid to let things get a bit messy, which is pretty refreshing compared to the usual sanitized music docs. The interviews feel spontaneous, even a little awkward, but that’s the charm. You get the sense that Elder genuinely enjoys hanging out in the unpredictable spaces where real creativity happens. And don’t sleep on “In My Own Time: A Portrait of Karen Dalton” (2020). Elder’s approach here is slow-burning and poetic, which totally fits Dalton’s mysterious vibe. He pieces together her story through rare footage, scratchy recordings, and voices from the past—never trying to solve her, just letting her be complicated. There’s no sugar-coating or forced drama, just a sincere attempt to capture what made Dalton tick. Elder’s work always feels like it’s reaching for something real, even if it’s a little rough around the edges.