One of the more unlikely Instagram stars of our “Trump Show” era (with 2.3 million followers and counting), Pete Souza is likewise a surprising choice
Column
The first time an episodic series was programmed on opening day of the Sundance Film Festival happened a lifetime ago—i.e., just this past January
The most nerve-wracking sequence in David France’s Welcome to Chechnya is, without doubt, the rescue of Anya.
The joy of human-to-human dialogue about the creative process is the heart of Pamela Cohn’s book, Lucid Dreaming: Conversations with 29 Filmmakers
When shooting vérité, Jesse Moss is typically a one-man-band. But his latest film—codirected with his wife, Amanda McBaine—demanded a full orchestra. Boys State required 28 crew members, to be exact, including an octet of cinematographers.
Japanese director Kon Ichikawa’s Tokyo Olympiad stands as a seminal achievement in documentary films about sports, right up there with Leni
Dear Readers, In this most convulsive of years, summer hasn’t felt like summer. In the months between when we published the Spring 2020 issue online
Dear IDA Community, It has been a dizzying and discombobulating six months since the coronavirus upended our lives, forcing us to stay at home and
Though Bloody Nose, Empty Pockets premiered in the US Documentary Competition at pre-pandemic Sundance back in January, I didn’t catch Bill and Turner
Cutting Class is a new column that focuses on a specific aspect of the post-production process—breaking down a scene editorially, and delving into