Catching up on a few recent Washington Post stories. Last Sunday I wrote about a new exhibition of art from Lebanon, art which is sadly but understandably preoccupied with war, sectarian division and the political future of one of the world’s most beautiful and volatile countries. I also took on a new documentary about I.M. Pei and the museum he designed for Islamic Art in Qatar. It may be his late great masterpiece. But how can a respectable film festival screen a film that was commissioned by the subject of the film? If I’m interested in one thing when writing about documentary, it’s the contract of trust–or lack of one–between film makers and the public.