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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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Holding On to a Good Story: Making ‘God Save Texas’

By Robin Berghaus

Holding On to a Good Story: Making ‘God Save Texas’

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Making a Production: NoCut Film Collective

By Sudipto Sanyal

Making a Production: NoCut Film Collective

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Matters of Life and Decay: Bill Morrison’s Material Profundity

By Carmine Grimaldi

Matters of Life and Decay: Bill Morrison’s Material Profundity

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On the Notion of Transmission

By Jean-Marie Teno

On the Notion of Transmission

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CPH:DOX 2024 Reviews: ‘Phantoms of the Sierra Madre,’ ‘The Flats,’ and ‘Black Snow’

By Vladan Petković

CPH:DOX 2024 Reviews: ‘Phantoms of the Sierra Madre,’ ‘The Flats,’ and ‘Black Snow’

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How the PRESS Act Will Protect Documentarians

By Michael Donaldson

How the PRESS Act Will Protect Documentarians

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Saving Ourselves at Getting Real ’24

By Anthony Kaufman

Saving Ourselves at Getting Real ’24

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Presence/Absence at Getting Real ’24

By Sophie Brown

Presence/Absence at Getting Real ’24

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Kolkata People’s Film Festival 2024: Precious Spaces

By Sudipto Sanyal

Kolkata People’s Film Festival 2024: Precious Spaces

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Berlinale 2024: Memories of War

By Sevara Pan

Berlinale 2024: Memories of War

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How an Anti-SLAPP Statute Protected ‘The Holly’

By Julian Rubinstein and Robert S. Gutierrez

How an Anti-SLAPP Statute Protected ‘The Holly’

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