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For decades, Katja Raganelli’s documentaries safeguarded the stories of female filmmakers when the industry tried to erase them

Heiny Srour, who made two landmark features advancing the role of women in liberation movements, is not shy about being a “first”

David Osit discusses how Predators, his house of cards examining Chris Hansen’s controversial sting show and its YouTube imitators, stealthily

A filmmaker reflects on how Writing With Fire became a reckoning with authorship, the politics of a fixed gaze, and the unstable ground beneath

Diving deep into the Danish doc mainstay’s standout titles Always, The Helsinki Effect, and Nordic competition winner Walls – Akinni Inuk

Formed over two decades ago, a Korean queer feminist collective “putting aesthetics into praxis” considers streaming and festival success

Sound designers María Alejandra Rojas and Arturo Salazar put the ineffable into words

Well-regarded as a champion of independent and alternative cinema, South Korea’s second-largest festival proudly tackles the contemporary political

Pinny Grylls and Sam Crane’s Grand Theft Hamlet (2024) is the latest in a wave of documentaries shot entirely inside Grand Theft Auto or other video games. Playing a game is often no longer a solitary exercise but a social one, and we can understand games not as experiences separate from the “real” world but as an extension of it. Within that new paradigm, it makes sense that we’re seeing more documentaries explore game spaces as if they are physical ones. Professional filmmakers and computer engineers alike recognized games’ potential as playgrounds for formal experimentation years before this trend.

Twelve days before Art Spiegelman: Disaster Is My Muse (2024) was set to broadcast on April 15 across PBS stations nationwide as part of its strand American Masters, the filmmakers were told that a 90-second sequence—which shows the famous artist discussing an anti-Trump cartoon he created for the 2017 Women’s March newspaper—would be cut from the documentary.