Had it not been for a spiraling rift that began with a pro-Palestinian protest on the opening night of last year’s IDFA, Armenian director Shoghakat
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Softening the boundaries between fiction and nonfiction, the films of French-Canadian director Antoine Bourges are marked by their hybrid nature and
A publicist for the International Film Festival Rotterdam (IFFR) remarked to me near the end of this year’s festival that after two years of the COVID
Documentarians Stephen Maing (2018’s Crime + Punishment) and Brett Story (2019’s The Hottest August) have wielded different observational filmmaking approaches to explore social and political issues in the United States, from the possibility of police reform to the psychogeography of the carceral state.
Seeking Mavis Beacon follows two fabulously charming e-girl detectives: director Jazmin Renée Jones and associate producer Olivia McKayla Ross, as
A dizzying, fast-paced, 150-minute montage about American jazz, Western imperialism, European colonization, and the assassination of Congolese
Since Pedro and I first started filming unseen in May 2016, I’ve always told him that my main audience for our film is no one else but him. After all, unseen is about his life and his decade-long journey to become a social worker. What makes the pursuit of this goal not so straightforward is the fact that Pedro is blind. If Pedro is truly my main audience, how can I make a film (arguably a primarily visual medium) not only accessible for him but, more so, enjoyable?
A revelatory portrait of psychics and their clients, Lana Wilson’s Look Into My Eyes is also an unexpectedly poignant love letter to the myriad artists and performers that fake it till they make it in NYC—as well as to the city itself. A few days prior to the film’s January 22 premiere at Sundance, Documentary was fortunate to catch up with the director.
As a clueless American not previously aware that “Gross National Happiness” is a measurable index in the Himalayan country of Bhutan, I did a double
Moroccan filmmaker Asmae El Moudir (2020’s The Postcard ) grew up in a world in which images were forbidden. She had no childhood photos (save for one