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Greg de Cuir Jr

Headshot of an adult male with medium-dark skin tone, bald-headed, with a short beard, wearing a tan overcoat over a brown hoodie.

Greg de Cuir Jr (Serbia/USA) is the co-founder and artistic director of Kinopravda Institute in Belgrade. He has organized programs at the Institute of Contemporary Arts (London), National Gallery of Art (Washington DC), Anthology Film Archives (New York), Locarno Film Festival, and Kurzfilmtage Oberhausen, among others. De Cuir is currently editing the first translation of Constructivism in Film: The Man With the Movie Camera, written by Vlada Petric (originally published by Cambridge University Press, 1987). He lives and works in Belgrade, Serbia.

Articles

Headshot collage of Blake Knecht, Gríma Eir Geirs Irmudóttir, and Shawn Antoine II.
Member Spotlight: Blake Knecht, Gríma Eir Geirs Irmudóttir, and Shawn Antoine II
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In a room with shelves lined with tapes, a group of people gather around a table with film materials.
What Filmmakers Should Know About Privacy and Copyright From BAVC Media’s Upcoming Landmark Study on Magnetic Media
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The Synthesis: Here’s What Happened When We Prompted Sora With Taglines From Oscar-Winning Documentaries
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“Our Commitment Is to the Space Where Difficult Conversations Can Happen, Not to Issuing Verdicts”: Interview With CPH:DOX Artistic Director Niklas Engstrøm
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An illustration of the see no evil, hear no evil, and speak no evil monkeys against a yellow background.
The Synthesis: All Bets Are Off for AI and Documentary—It’s Time for a Reset
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In a bright room with concrete pillars and floors, a man in a sweater answers a question from the audience.
“First, We Learn How to Work Together”: Leonard Cortana Discusses the BIPOC EURODOC Task Force
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A merged image of two photographs of a young white man in front of Southeast Asia looking buildings.
Exclusive: Trailer Debut From Peter McDowell’s ‘Jimmy in Saigon’
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Film still from 'Writing Hawa' featuring two women - one with a book in hand, the other writing on a whiteboard.
IDA Grantees & Members at Hot Docs 2025
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“Part of a Peace Movement”: ‘The Encampments’ Co-Director Kei Pritsker on Correcting the Historical Record and Breaking a Box Office Record
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Making a Production: Concord Originals
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Two filmmakers work at a computer desk.
Peace Is Loud and UFO Announce Post/Impact Residency and Inaugural Recipients
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Existing Next to Each Other: Monica Strømdahl Turns a 15-Year Photography Project Into ‘Flophouse America’
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Producer’s Diary: ‘ChiefsAholic: A Wolf in Chiefs Clothing’ (December 2022–December 2024)
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A panel of six people sit in front of a large theater full of documentary filmmakers.
Statement on NEH Grant Terminations
Advocacy
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On a steep mountainside, two men sit on the ground next to their horses.
“A Brutal Kind of Beauty”: Kasimir Burgess on His Visions du Réel-Premiering ‘Iron Winter’
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Amid “Perfect Storm,” International Documentary Business Tries to Stay the Course at CPH:DOX
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Doc Fortnight 2025: Archival Emergence
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Thessaloniki Docfest’s Agora Remains a Beacon of Hope Despite Geopolitical Turmoil and Broadcasters’ Retreat, Says the Industry
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PBS and NPR Leadership Face Accusations of News Bias During U.S. House DOGE Subcommittee, While Documentaries Mostly Escape Scrutiny
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SXSW 2025: Made in the USA
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“This Bandit Art Collective”: Jeremy Workman Strikes Gold With ‘Secret Mall Apartment’
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Exclusive: Clip Debut From Jim LeBrecht’s Peter Dinklage-Narrated ‘Change, Not Charity: The Americans With Disabilities Act’
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Exclusive: Trailer Debut From Vicky Du’s ‘Light of the Setting Sun’
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Portrait of No Other Land co-director Hamdan Ballal.
Statement on the attack on 'No Other Land' director Hamdan Ballal
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Inti Cordera, Nathalie Seaver, Joel Simon, and Luis González Zaffaroni Join IDA Board of Directors
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Miami Beach Mayor Withdraws Proposal to Defund and Evict O Cinema
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“The Closer You Get to the Truth, the More You Have to Include Contradictions”: Johan Grimonprez on ‘Soundtrack to a Coup d’État’
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West Lake IDF 2024: What’s in a Name
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“You Couldn’t Have a City Without a School”: Claire Simon on ‘Elementary’
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Introducing Non-Fiction Core Application 3.0: Streamlining the Application Process and Pushing the Field Forward
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Miami Beach’s O Cinema Challenges Mayor’s Threats of Eviction Over ‘No Other Land’ Screenings
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A black & white image of an elderly man of African-American descent sitting on a porch.
Sundance 2025: Sowing Seeds
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An empty room that has been bombed with fabrics, chairs strewn around and windows open.
Screen Time, Winter 2024/2025
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man reclines on a rock hill with a tank in the background
Statement in Support of Freedom of Programming
Advocacy
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Headshot of Biljana Tutorov wearing a blue short sleeve shirt
IDA Member Spotlight: Biljana Tutorov
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Film still from 'The In Between'
Holding On: Robie and Alejandro Flores Share the Making of ‘The In Between’
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What’s in My Bag: Zac Manuel
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Black and white photograph of Simone Biles Rising posters above a white coach in a sunny office.
Making a Production: Religion of Sports
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The Future of NEA Funding for U.S. Documentary Film Nonprofits Remains in Limbo After Anti-DEI and “Gender Ideology” Executive Orders
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Sundance 2025: Think Before You Point
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A Workshop For All: The Miners’ Campaign Tapes
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Work in Progress: Archival Producers Alliance Release New “Working with Archival Producers” Guidelines
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“Working with Emptiness”: Oleksiy Radynski Discusses His CCTV Chornobyl Doc ‘Special Operation’
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Letter From the Editor, Spring 2025
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Notes From the Reel World, Spring 2025
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“I Didn’t Want to Have ‘Migration’ in the Title”: Sam Abbas on ‘Europe’s New Faces’
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IDA Grantees & Members at 2025 SXSW
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Exclusive: Clip and Poster Debut From Eleanor Mortimer’s True/False-Premiering ‘How Deep Is Your Love’
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Democratizing Film Funding Was Never Going to Be Easy
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EFM’s Fairly Tepid Market for Nonfiction Deals Drives Innovation and Resilience, According to Sales Agents
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