Good Pitch makes its Latin American debut.
“We Cannot Underestimate the Collective Power of Those Who Have No Access to Power”: Tana Gilbert Discusses ‘Malqueridas’
A heartfelt departure from the prison life documentaries that have become so ubiquitous in recent years, Tana Gilbert’s Malqueridas takes a novel approach to this thorny topic through a most unusual lens. Comprised solely of clandestinely shot cellphone footage—in its original vertical format—from inside a Santiago women’s prison by incarcerated mothers, the film is narrated by “Karina,” a mom who spent six years behind bars. In the film, she voices the experience of and for the collective whole, specifically the 20 or so women who participated in “extensive conversations” during the film’s research phase.
In August 2021, in my work as Director of Film Impact and Innovation at Peace is Loud, I had a conversation with Fork Films’ former Chief Creative
An Interview With Natalia Almada: For over two decades, Natalia Almada has combined artistic expression with social inquiry to make films that are both personal reflections and critical social commentaries, focusing on topics ranging from contemporary Mexico to our relationship with technology. Her work straddles the boundaries of documentary, fiction, and experimental film. On the occasion of the theatrical release of her latest feature Users (2021), New York’s BAM Film is presenting a complete retrospective of Almada’s work, running June 9–15, 2023.
Screen Time is your curated weekly guide to excellent documentaries and nonfiction programs that you can watch at home. October is a month for
IDA's Logan Elevate Grant , which is made possible through the generosity of the Jonathan Logan Family Foundation , aims to uplift emerging filmmakers
When I was a child, I remember my father having one of those giant Panasonic cameras for home movies. I am one of six kids; I was the quiet, twiggy
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 Switzerland last April, filmmaker Kirsten Johnson named each member of the technical crew on set.
The 11th annual BlackStar Film Festival was back at the University of Pennsylvania’s Penn Live Arts at the Annenberg Center for the Performing Arts
Filmmaking is a collaborative endeavor, but it can be highly hierarchical. In documentary cinema, the asymmetry of power is often particularly acute