In the weeks since the National Endowment for the Arts announced major changes to its application criteria, many nonprofits across the country have been anxiously awaiting clarity regarding what this might mean for their prospective Fiscal Year 2026 grants. In particular, in recent weeks nonprofit managers and filmmakers are scrutinizing how the NEA applies two recent Executive Orders aimed at shutting down DEI and LGBTQ+ programs.
Nonprofit Organizations
The National Endowment for the Arts announced radical updates to its parameters for Fiscal Year 2026 funding via press release on Thursday, February 6
Today, American Documentary (AmDoc) announced that award-winning independent filmmaker PJ Raval, known for directing stories of queer and Filipino
Today, Catapult Film Fund announces that longtime industry executive Tabitha Jackson is the newest member of its board. One of documentary’s most
Millennium Film Workshop is a cinema and gallery space dedicated to showcasing avant-garde, experimental, and noncommercial films and moving images
As the theatrical market for arthouse and documentary films continues to recover from the many challenges of the COVID-19 pandemic, it may not seem
As far as multiplexes go, my local one in Wichita, Kansas, was wonderful. Eschewing the corporate homogeneity of AMC and other chains, the sprawling Art Deco–revival Warren buildings were meant to recapture the glory of old movie palaces. The red carpet climbed up the walls as wainscotting in the bathrooms, which were distinctly creepy. The ceilings were covered by murals depicting Grecian deities. Portraits of John Wayne, Marilyn Monroe, and Bogie hung on the walls. But in 2017, the eight-location chain was purchased by Regal Cinemas, and while the red carpet and Grecian deities remain, we resent the corporate encroachment. I still often go alone, in the middle of the week, happy to pay whatever inflated price for 90 minutes of air conditioning, red carpet, and haunted bathrooms.
A Conversation with Gordon Quinn and Amir George For over 50 years, Chicago’s Kartemquin Films has been at the vanguard of social issue nonfiction.
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 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 documentary field, where it’s become exceedingly clear that the dominant ways of working are not serving us