Summer 2022

Puhipau is a middle aged Hawaiian man in a blue shirt. He is holding a mic. Joan Lander, is a white woman holding a camera and filming. They're both at a protest against the building of a geothermal plant, in 1989. Photo courtesy of Nā Maka o ka ʻĀina. Our Summer 2022 issue looks out. Away from the centers we focus our attentions on and pile power onto. The issue, as it travels across the country and beyond, is not an attempt at studying margins but an exercise in deconstructing our centers, expanding them and beginning to listen beyond our echo chambers.

Summer 2022

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Features

A crowd gathers at one of Ambulante’s many activities and screenings through the years. Photo courtesy of Delia Martinez.

Ambulante's Post-COVID Reemergence: A Renewed Commitment to Community, But a Divide between Leadership and Workers

When opening her masterclass at Visions du Réel in...

By Mariana Sanson

'Family Pictures USA' artist Thomas Allen Harris, left, a Black man with glasses and a blue button-down shirt, displays family photographs belonging to North Carolina Poet Laureate Jaki Shelton Green, a Black woman with copper-colored curly hair. round glasses and a black dress, and her cousin, Sterling Michael Holt., a Black man with white hair and white mustache, glasses, waring a green sweater and holding a family photograph. Harris' 'Family Pictures USA' project co-creates a living and growing famil

Co-Creation As a Democratic Act: A Conversation with Katerina Cizek and Thomas Allen Harris

Back in 2019—before COVID-19, before the global...

By Tom White

The Mulka Collective at work; two women sit with a camera facing toward an older woman. Photo courtesy of Mulka Collective

Australia's Mulka Project and Karrabing Film Collective: Making Films for and with First Nations Communities

When Yolŋu filmmaker Ishmael Marika first found a...

By Rachel Naninaaq Edwardson

The Working Films staff poses in front of a blue house: (Standing L-R) Molly Murphy, Andy Myers, Anna Lee, Gerry Leonard, Stephanie Avery. (Seated L-R) Hannah Hearn, Amalia Renteria. Photo by Tory Silinski.

The Art of Building a Road: Working Films' New Organizational Structure and a Future of Shared Power

We’re in a moment in the world, and in the...

By Working Films Team

Three African girls sit in a room with a turquoise background as one shows her phone. From Ousmane Samassékou’s 'The Last Shelter.' Photo courtesy of STEPS.

How Generation Africa Is Changing the Narrative of Migration in African Communities

On a cold Berlin afternoon in February 2022...

By Wilfred Okiche

Black-and-white screengrab from a film produced by India's Films Division. It reads "Documentary Films of India Presents."

Saving India's History: Archive Merger Poses Numerous Problems

In December 2020, the Indian government, led by...

By Sudipto Sanyal

Puhipau, a man holding a mic and wearing headphones, and Joan Lander, a woman holding a camera and smiling, filming in 1989. Courtesy of Joan Lander

Nā Maka o ka ‘Āina Celebrates 40 Years of Amplifying the Voices of Hawai'i

“Hawai‘i is the extinction capital and endangered...

By Imani Altemus-Williams

Columns

Fast Foreword, The Editor's Column, Summer 2022

By Tom White

India's Truthtellers: A Half-Century of Independent Doc-Making in a Turbulent Political Landscape

By Uttaran Das Gupta

'The Territory' Strikes a Balance of Filmmaking Power

By Ela Bittencourt

Inside Out: Jessica Beshir

By Jessica Beshir

Playback: Errol Morris' 'Vernon, Florida'

By Elizabeth Lo

Notes from the Reel World, Summer 2022

By Rick Pérez