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How Short Production Timelines Ruin Documentaries

By Scarlett Harris

How Short Production Timelines Ruin Documentaries

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“The Tree Can Still Bear Fruit”: Laurie Townshend Discusses Her Staceyann Chin Doc ‘A Mother Apart’

By Tayler Montague

“The Tree Can Still Bear Fruit”: Laurie Townshend Discusses Her Staceyann Chin Doc ‘A Mother Apart’

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The Synthesis: Piotr Winiewicz on the “Surprisingly Ordinary Dreams” Generated by AI in His IDFA Opening Film

By shirin anlen and Kat Cizek

The Synthesis: Piotr Winiewicz on the “Surprisingly Ordinary Dreams” Generated by AI in His IDFA Opening Film

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“A Win-Win Situation”: Marianna Kaat Launches the Inaugural Doc Competition at Tallinn Black Nights

By Davide Abbatescianni

“A Win-Win Situation”: Marianna Kaat Launches the Inaugural Doc Competition at Tallinn Black Nights

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Sareen Hairabedian on Depicting Coming-of-Age During War in ‘My Sweet Land’

By Sevara Pan

Sareen Hairabedian on Depicting Coming-of-Age During War in ‘My Sweet Land’

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“Telling a Story Together Creates Another Story”: Milo Rau on the Utopian Documentarism in His ‘Antigone in the Amazon’

By Lauren Wissot

“Telling a Story Together Creates Another Story”: Milo Rau on the Utopian Documentarism in His ‘Antigone in the Amazon’

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The Synthesis: AI Is Everywhere, Even in Your Documentary

By shirin anlen and Kat Cizek

The Synthesis: AI Is Everywhere, Even in Your Documentary

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“The Deepest, Darkest Parts of Ourselves”: Victoria Mapplebeck Discusses ‘Motherboard’

By Carol Nahra

“The Deepest, Darkest Parts of Ourselves”: Victoria Mapplebeck Discusses ‘Motherboard’

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Robinson Devor Discusses ‘Suburban Fury’

By Dan Schindel

Robinson Devor Discusses ‘Suburban Fury’

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Shifting Ground: Mati Diop’s ‘Dahomey’

By Saffron Maeve

Shifting Ground: Mati Diop’s ‘Dahomey’

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The Feedback: Jessica Chaney and Amanda Willoughby Reframe Mental Health Challenges in ‘I Am’

By Dan Schindel

The Feedback: Jessica Chaney and Amanda Willoughby Reframe Mental Health Challenges in ‘I Am’

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Cinema Is the Images We Can’t See: Narcisa Hirsch’s Documentary Disposition

By Lucía Requejo and Victor Guimarães

Cinema Is the Images We Can’t See: Narcisa Hirsch’s Documentary Disposition

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