From 1968 to 1973, the Nihon Documentarist Union did radical documentary work in Japan. They made two films in Okinawa before, during, and after its reversion.
Anthony Banua-Simon’s documentary Cane Fire contrasts decades of Hollywood images of his home with its current reality.
Her short film Freshwater is now playing at the Museum of Contemporary Art Detroit.
MAU is too charmed by its subject to nail down what he has achieved, or why people should even care about him in the first place.
BAM’s retrospective In the Images, Behind the Camera features rare and restored works by female filmmakers of the Global South.
Film programmer Inney Prakash talks to Hyperallergic about what it takes to start a new film festival solo during a pandemic.
Management canceled a Q&A with the creators of the 1979 film The Wobblies over concerns that it would be “co-opted by activists,” said the film’s distributor.
The 1979 documentary, recently restored and now returning to theaters, is a vital record of the early years of the Industrial Workers of the World.
The Museum of the Moving Image show Deepfake: Unstable Evidence on Screen tries to help visitors equip themselves to discern real images from fake ones.
Hyperallergic talks to director Sierra Pettengill about her documentary Riotsville, USA, which finds the roots of modern policing techniques in the 1960s
In two shorts showing as part of García’s exhibition at Amant, she explores the unfinished revolution of diplomat Alexandra Kollontai.
Married volcanologists Katia and Maurice Krafft took incredible footage of eruptions. Sara Dosa’s documentary uses it to tell their unusual love story.