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Articles by Anthony Kaufman

In a studio, Chris Hansen stands with his arms crossed, looking at a bearded white man in a white jacket.
Paramount Doesn’t Want My MTV (Documentary)
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A young white woman with shoulder-length blond hair stares intently away from her; a young man in a suit is out of focus in the background
Meta Doesn’t Want Ads for Your Political Documentary
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In front of a yellow plantation home, a National Park Service ranger leans causally on one elbow while sitting on a wooden chair.
Can YouTube Save Independent Documentaries?
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A packed theater with a screen announcing a CPH:DOX panel features four people seated at a stage holding mics mid-conversation
My Desirable Friends: At CPH:DOX 2026, Industry Hopes for a “European Netflix” and More Coproductions
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Street lamp posters advertising the 2026 Sundance Film Festival with a view of Main Street buildings against a bright blue sky
Don’t Panic: Doc Industry Looks for Upsides Amid Decimation at Sundance 2026
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A man stands in a room full of old TV screens.
No Safe Distance: How State Suppression of Documentaries Crosses Borders
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A firefighter wearing a yellow uniform looks at a burning field.
Minding the Gaps: How CPB’s Closure Fragments the U.S. Documentary Ecosystem
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Red PBS logo with a black X over the mouth.
“C” is for Censorship: PBS Cuts ‘Art Spiegelman’ Doc and Other Dubious Acts at Embattled Broadcaster
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In a grand multi-story theater, a packed audience looks at an off-screen movie screen.
Amid “Perfect Storm,” International Documentary Business Tries to Stay the Course at CPH:DOX
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Screenshot showing the top three scoring projects of a Decentralized Pictures contest.
Democratizing Film Funding Was Never Going to Be Easy
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Against a dark night sky, the marquee of the Egyptian Theater reads: "Sundance Film Festival."
Sundance May Now Be the World’s Most Important Documentary Launchpad
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man reclines on a rock hill with a tank in the background
No Other Distribution: How Film Industry Economics and Politics Are Suppressing Docs Sympathetic to Palestine and Critical of Israel
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A crowd gathers outside a building. There is a tree with green leaves in the middle of the picture behind the crowd and in front of the building.
Saving Ourselves at Getting Real ’24
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Two filmmakers seated on director's chairs look at each other during a Q&A.
Are Above-the-Line Diversity Hires “Cover-Your-Ass” Tokenism or Meaningful Collaboration?
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Two people dressed in black stand on a stand in front of a full audience of spectators.
CPH:DOX 2024: Visibility and Interdependency
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Photograph of an elephant suspended from a sling, being loaded onto a ship.
With Sundance Boost, Even Original Documentaries Could Make a Comeback in 2024
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Film still from 'Eat Bitter,' showing the silhouette of a man with arms outstretched, on a small boat.
Inside DOC NYC: Power, Profit, and Community at America’s “Largest” Doc Fest
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Still from "On the Edge," directed by Nicolas Peduzzi. From overhead, a man in a white doctor's coat descends down a series of stairs.
CPH:DOX 2023: Finding a Way Forward in Crisis
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Liyah Mitchell appears in KOKOMO CITY by D. Smith, an official selection of the NEXT section at the 2023 Sundance Film Festival. Courtesy of Sundance Institute. | Photo by D. Smith
At Sundance 2023, Corporate Docs Nab the Spotlight, But Bold Independent Nonfiction Shines
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Amir George (left) , the new artistic director of Kartemquin Films, with his predecessor, Founder/Artistic Director Gordon Quinn (right). Amir is a Black man with a beard, wearing a white sweatshirt, and Gordon is a white man with gray hair and glasses, wearing a grey coat over a purple button-down shirt. . Photo courtesy of Anthony Kauffman
Community, Advocacy and Change: Kartemquin Films Moves Forward
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Projectionist Tim White is a white man working a film projector at a Flaherty Film Seminar. Photo by Anne-Katrine Hansen; courtesy of The Flaherty.
Film Festival Workers Unite!
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Two Saudi Arabian men wearing keffiyeh and white thobes sitting in a golf cart on the premises of the Mohammed bin Nayef Counseling and Care Center in Riyadh. From Meg Smaker’s ‘Jihad Rehab.’ Courtesy of Sidestilt Films.
Why Filmmakers Have Had a Problem With 'Jihad Rehab' for Years
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Abu Osama is a bald Syrian man with a beard, sitting with his children at his home in Syria. From Talal Derki’s Academy Award-nominated ‘Of Fathers and Sons.’ Courtesy of Kino Lorber.
Is an Oscar Campaign Worth the Cost for an Independent Documentary?
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A man, who is particiapting in a neuroscience focus group, has his eyes closed, and is wearing a device on his head comprised of four neurosensors attached to the top of his head and twolarger sensors above each ear. He in enveloped in a golden aura that resembles the sun.
The Art of Nonfiction is Flourishing, But Are Its Supporters?
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Documentary Producers Find Some Silver Linings Despite COVID Surge
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Premiering Documentaries in a Pandemic
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