Screened as part of NZIFF 2015

Merchants of Doubt 2014

Directed by Robert Kenner Framing Reality

Scoring its points through clearly stated arguments and pithy humour, Merchants of Doubt examines the methods corporations use to stymie political actions that would be good for public health, but bad for their bottom lines.

Aug 02

Paramount Bergman

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Paramount Bergman

Aug 03
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Ngā Taonga Sound & Vision

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Ngā Taonga Sound & Vision

Aug 04
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Ngā Taonga Sound & Vision

Aug 05
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Ngā Taonga Sound & Vision

Aug 10

Ngā Taonga Sound & Vision

Aug 11

Ngā Taonga Sound & Vision

USA In English
96 minutes DCP

Director

Producers

Robert Kenner
,
Melissa Robledo

Screenplay

Robert Kenner
,
Kim Roberts. Based on the book by Naomi Oreskes and Erik M. Conway

Photography

Don Lenzer
,
Barry Berona
,
Jay Redmond

Editor

Kim Roberts

Music

Mark Adler

With

Jamy Ian Swiss
,
Stanton Glantz
,
Sam Roe
,
Patricia Callahan
,
James Hansen
,
John Passacantando
,
William O’Keefe
,
Naomi Oreskes
,
Fred Singer
,
Michael Shermer

Festivals

Toronto
,
New York
,
CPH:DOX 2014

Merchants of Doubt, based on the book of the same name, shines its light on corporate public relations strategies for undermining inconvenient scientific research. Should you embark on a career in science in the 21st century, this film suggests you may need a thick hide if your research places human welfare ahead of corporate profit. Your every conclusion may be countered by a pseudo-expert granted equal media time to provide ‘balance’. Don’t be surprised if you are called an elitist, seeking to deprive ordinary citizens of the right to choose. These tactics and more, as revealed in the thousands of documents leaked to anti-tobacco crusader Stanton Glantz, enabled the tobacco industry to maintain for decades that science was inconclusive about smoking when their own researchers had told them the opposite. It seems clear that those documents have now served as the blueprint for the orchestrated denial of human-generated climate change. Utilising card-sharp con artistry as its ruling metaphor, Robert Kenner’s richly storied film draws its most vivid testimony from two reformed skeptics – and one extremely voluble, unrepentant spinner.