Jane Goodall (Credit: National Geographic Creative/ Hugo van Lawick) Documentary director Brett Morgen is known for immersing audiences with a kinetic, hyper-stylized panache that has matched his subjects. Consider 2002’s “The Kid Stays in the Picture,” in which he, with codirector Nanette Burstein, drew audiences into Hollywood Producer Robert Evans’s tinsel-coated, narcissistic memoir of starlets and backlot machismo with archival imagery that seemed to pop off the screen. Or 2015’s “Kurt Cobain: Montage of Heck,” which, with the volume turned to 11 and a dizzying array of animation techniques, sucked us into the madness of the grunge rocker’s drug-addled genius and despair. But those guys were on the dark side, lending themselves to edgy, engrossing tales.