Errol Morris’s film about the photographer Elsa Dorfman touches on big questions about cycles of life and obsolescence, but remains doggedly cheerful.
Composed entirely of archival footage and news reports, The Reagan Show highlights how the 40th US President treated his time in office as an extension of his acting career.
In her debut feature, artist Filipa César documents the digitization of films made in the African country around the time of its independence.
In Transit, the late documentarian Albert Maysles’s final film, was completed after he died in March 2015 and focuses on the journeys of passengers at various stages of life.
I Love Dick is a show about how women are discouraged from having ideas and what happens when one woman lets her fantasies drive her art.
The Film Society of Lincoln Center is presenting A Vision of Resistance: Peter Nestler , the first large retrospective dedicated to the filmmaker in the US.
Wong spent 30 years in the film industry, though racial attitudes of the time kept his contributions unacknowledged until the 21st century.
Maudie, directed by Aisling Walsh, offers a complex portrait of a woman who resided on the literal edges of society and had no formal training, but lived and breathed her painting.
James N. Kienitz Wilkins’s experimental documentary Common Carrier finds artists balancing creative pursuits and the demands of life in New York City.
The series Cross-Dressing and Drag on Screen at the Anthology Film Archives highlights drag’s ubiquity across time, place, and social milieu.
Anthology Film Archives’ latest series explores fictional, factual, and farcical portrayals of monkeys in movies.
Bill Morrison’s newest work, Dawson City: Frozen Time, tells the story of an unlikely triumph for film preservation and history.