For so long, much about Russell Tyrone Jones, known to the world as Ol’ Dirty Bastard and Ason Unique by others, earned both public awe and
Interview
Ten years ago, on July 30th, 2014, the celebrated German filmmaker, writer, and artist Harun Farocki passed away. Farocki’s output spans short
Martha Coolidge made her mark in Hollywood directing films like Valley Girl, Real Genius, and Rambling Rose, but before all that, she was breaking
A film forged through traumatic reckoning, Sugarcane investigates the discovery of 50 unmarked graves on the property of St. Joseph’s, a now-defunct
Though veteran director-producer Amy Nicholson has crafted feature-length films (2012’s Zipper: Coney Island’s Last Wild Ride , 2005’s Muskrat Lovely
“I don’t think of myself as a documentary filmmaker”: Documentary spoke with Kienitz Wilkins to discuss his methodology, his thoughts on documentary’s relationship to his work, and the festival landscape at large.
At this moment in our industry, when everyone is trying to find a solution to the distribution crisis, BAVC Media continues to adapt in order to
With a flurry of announcements in the last six months, the Doris Duke Foundation’s Building Bridges program has stepped squarely into the film funding space in a concerted effort to broaden the pipeline of Muslim-American filmmakers in media and entertainment. The program is partnering with a handful of film institutions, most notably the Islamic Scholarship Fund, the Center for Asian American Media, Sundance Institute, and the Muslim Public Affairs Council’s Hollywood Bureau, on a series of public activations, funds, and fellowships. The programs have taken place in a variety of spaces, from Sundance festival to IDA’s own Getting Real. The activities caught our attention.
"Block Party": Veteran game developers Navid and Vassiliki Khonsari of iNK Stories are building an open world that reflects their own community of Brooklyn, NYC, populating it with AI-powered NPC avatars in the likeness of the duo’s real-life neighbors. Documentary spoke to the duo about this experiment and its profound implications for the documentary field.
Director Song Won-geun discusses historical documentary filmmaking and storytelling with specificity in relation to his film, “Panmunjom: The Front Lines of Ideology.” Song wanted to “explore Panmunjom as a truce site that hasn’t changed much for 70 years, without necessarily taking sides or seeing it through the lens of another powerful country.”