documentary
Janet Lee reports from Sundance Film Festival with her reviews of A24 documentary Boys State, and Colombian-American film Blast Beat.
One of the more poetic documentaries, I Wish I Knew is an ode to the impact one city has had, across so many decades, on so many lives.
Miss Americana is socially responsible filmmaking at its finest, which is certainly a pleasant surprise.
Midnight Family reveals the bleak reality of a private ambulance business in Mexico with impressive realism and honesty. Michael Frank reviews.
Filled with melancholy, delicacy, and captivation, The Disappearance of My Mother is a well-crafted tale of vulnerability.
While Don’t F**k With Cats might be too much for some, with a level of grossness that’s hard to deny, there’s a seedy story that’s hard to ignore.
In the 2010s, filmmakers pushed conventions of the form in both aesthetics and subject matter, expanding the umbrella of what be considered a “documentary.” The result was a decade of feasting for non-fiction film lovers.
Chichinette: The Accidental Spy pays homage to a hero while also reminding us that while World War II may be many decades in the past, the time for leaders such as Marthe Cohn is still now.
Kristy Strouse was able to speak with co-directors Taki Oldham & Robert Kenner of Netflix’s The Confession Killer about how they maneuvered this challenging and complex story.
Netflix’s true crime mini-series The Confession Killer delivers detail after detail in rapid succession in exquisite fashion.
What She Said: The Art of Pauline Kael is a pleasant reminder of Kael’s greatness and a nostalgic look back at an era that changed American cinema forever.
The Marion Stokes Project captures both the inherent humor and the utter absurdity of what this single-minded woman devoted her life to.
What You Gonna Do When the World’s on Fire is a showcase for filmmaker Roberto Minervini and a telling portrait of poverty in New Orleans.
Most Likely To Succeed reaffirms the dispiriting correlation between professional success and racial and class divide, as subtly depicted by Pamela Littky.
House of Cardin is a shiny, candy-colored look inside Cardin’s world, albeit one that is solely laudatory.