“Only Indigenous voices can tell their stories with dimensionality, and the tools to make that happen are incredibly accessible,” says film director Christian Rozier.

Critics say the new comedy series Neon was written, directed, and produced by non-Puerto Ricans.

At this year’s Sundance International Film Festival, more than half the feature-length movies were made by directors who identify as women.

The filmmaker and visual artist tells stories that speak directly to Native audiences while not over-explaining meaning for non-Native viewers.

A documentary trilogy follows the life of Thich Nhat Hanh, who expounded the principles of engaged Buddhism.

Jean Renoir's newly restored 1939 classic proves that lawless wealth — then as now — makes a marvelous farce of us all.

A festival dedicated to Davinci’s The King Show celebrates the LA artist's trippy remixing of stock footage, Hollywood cinema, and theater.

Letters Unwritten to Naiyer Masud attempts to peer into the late writer Naiyer Masud’s concealed world.

Saim Sadiq’s crushing debut, the first Pakistani film to be shortlisted for the Oscars, is imbued with a crisis of space.

All the Beauty and the Bloodshed centers the artist's campaign to stop the “artwashing” of the Sackler family’s role in the opioid crisis.

In myriad ways, coming as it does in January, Sundance sets the stage for US cinema through the rest of the year.

Squaring the Circle (The Story of Hipgnosis) is a reasonably informative, if rather dry, look at a subject with much more potential for exploration.

The Brooklyn Academy of Music will screen Camille Billops and James Hatch’s unique films centering Black American life, sexuality, and social issues.

Rachel Lears’s new film To the End is optimistic, perhaps to a fault.

The director sat with Hyperallergic for a conversation about the making of his new film The Velvet Underground.

The 32nd edition of the festival will feature 29 films representing 16 countries screening at the Walter Reade Theater.

A long history of checkered reviews of the film L’Homme blessé betrays a fundamental struggle with tragedy in a queer context.

While sex is clearly in its cultural flop era, intimacy with ourselves and with others is being deftly portrayed in body horrors.

In an open letter, the Society for American Archaeology accused journalist Graham Hancock's docuseries of disparaging experts while promoting “racist, white supremacist ideologies.”

EO’s universe seems a godless one; there’s no philosophical reason for the pain that human and nonhuman animals endure.

Nope, Neptune Frost, and Laura Poitras’s portrait of Nan Goldin are on our list of the best films made this year.

The subject matter of The Super 8 Years could not be more mundane, but the Nobel Prize-winning memoirist’s musings elevate it to something far more compelling.

The Turkish Culture Ministry has demanded its funding back on an award-winning independent film after a smear campaign by conservative media.

Whether documentary, experimental, or somewhere in between, there is no shortage of intriguing Dominican films through which to consider life on the island.

The shorts will be screened as part of XO & Struggle: An Evening of Abolitionist Cinema at the Maysles Documentary Center in Harlem, New York.

Nina Menkes’s Brainwashed: Sex-Camera-Power wants to join the ongoing conversation about gender and film. The trouble is that it has nothing new to say.

An insidious racism is at play in interviewer Henri Renaud’s attempt to groom Thelonious Monk for public consumption on French television.

Refugees of the Moria camp in Lesvos, Greece are behind the camera in the film Nothing About Us Without Us.

All the Beauty and the Bloodshed forcefully posits multiple parallels between the world Nan Goldin grew up in and the one she fights in today.

Vanessa Albury, whose eco-friendly ceramic sculptures help revive filter-feeder populations, is raising funds to complete her first film about the project.

The 26th Ji.hlava International Documentary Film Festival’s Philippines retrospective highlights early documentation of the country, local responses to the Marcos dictatorship, and contemporary work.

Tsai’s style is the opposite of boring; in demanding the viewer’s attention, he allows for incredible moments of human connection and discovery.

The story centers on a fictional TV painter who “has it all: a signature perm, custom van, and fans hanging on his every stroke.”

For those up for seriously weird, naughty “cyberdyke” mayhem, this movie will likely disturb and delight.

Though not well known outside of Japan, Tsuchimoto honed an observational style of filmmaking similar to the cinema verité movement in the US and Europe, but years earlier.

Artist Jesse Krimes served six years in federal prison, creating artworks while incarcerated using the bare-bones materials at his disposal.

Frederick Wiseman’s Public Housing shows how Clinton-era politics shaped the experiences of low-income Black communities in deindustrialized urban areas.

Red Night weaves together influences from horror cinema, pop culture, and political theory.

Capturing an urban ecosystem of animals and humans, Shaunak Sen’s second feature sits somewhere between a nature doc, political drama, and touching family portrait.

The Thief Collector goes beyond the 1985 theft of Willem de Kooning’s “Woman-Ochre” to explore the speculative history of the presumed thieves who held onto it for over 30 years.

A total of 17 films centered around Sikh history, diaspora, and innovation will be showcased at Manhattan’s Rubin Museum.

With his latest film, Jafar Panahi suggests that cinema might be a great art worth fighting for, but it may not be able to save anyone.

Films by local and international directors will play at Williamsburg Cinemas, accompanied by live events and an awards ceremony.

Just as sex with a revolutionary does not make one revolutionary, a penchant for setting films in developing countries does not make Denis a resident expert.

The French director made his films with his own earnings as an actor, not for monetary gain or widespread recognition but as a form of self-realization.

Laemmle NoHo 7, the last independent cinema in North Hollywood, is slated to be destroyed and replaced by luxury apartments.

The Computer Accent follows the pop-dance band YACHT as they use AI to help compose their 2019 album Chain Tripping.

Through its magical realism, The Cloud & the Man posits the power of love in adding a tinge of color to an overlooked, black-and-white life.

Rahat Mahajan's debut feature The Cloud Messenger finds resonance in suffering as a means to liberation.

Chinatown's venerated Downtown Community Television Center is celebrating its 50th anniversary with a state-of-the-art cinema and community hub.