Kathleen Jayme and Asia Youngman’s I’m Just Here for the Riot examines the social consequences of the 2011 Vancouver Stanley Cup Finals riot.
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The Longest Goodbye examines the psychological toll of space travel through the work of NASA’s Dr. Al Holland.
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Kay Lena Ndiaye’s documentary on the CFA franc is handsomely mounted, but lacks specificity and a clear thesis.
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Zhang Jialing’s Total Trust is a claustrophobic, challenging portrait of life under the totalizing Chinese surveillance apparatus.
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Ananta Thitanat’s slow cinema documentary on the dismantling of the Scala theatre in Bangkok plays like a non-fiction version of Tsai Ming-liang’s Goodbye, Dragon Inn.
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Steve J. Adams and Sean Horlor’s Satan Wants You presents the origin story of the Satanic Panic as a slick true crime thriller.
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Georges Hannan’s Undertaker for Life! attempts to lift the veil on the world of morticians, but refuses to engage with the visceral discomfort of death.
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Werner Herzog’s Theater of Thought is as much a detour into his mind and way of thinking as a documentary about the science of the mind.
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Joanna Hogg’s The Eternal Daughter is a ghost story that plays more as confessional autofiction than horror film.
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Hlynur Pálmason’s Godland is a beguiling, beautiful film about the terrifying power of nature.
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Daniel Roher’s film is an exciting profile of a famous political dissident.
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A Symphony for a Common Man persuasively connects the world in the wake of 9/11 to the world of today.
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An impressionistic portrait of three youths amid the landscape of contemporary urban Russia.
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This documentary on the phenomenon of chronic Lyme disease may not make a slam dunk case, but it offers plenty of musings on the nature of medical diagnosis and treatment for a society emerging from a global pandemic.
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This avant-garde documentary about the decommissioning of a nuclear power plant asks the viewer for total surrender, but doesn’t earn it.
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Matt Sarnacki’s documentary traces the explosive fallout of the murder of Slovakian journalist Ján Kuciak and his fiancée Martina Kušnírová on February 21, 2018.
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Sean Wang’s film provides a concrete example for abstract discussions of “global supply chains.”
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Cody Sheehy’s documentary about Dr. He Jiankui is saved by the strength of its subject matter.
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Shameela Seedat’s African Moot uses its seemingly low stakes competition as a microcosm for the larger legal world.
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Eva Orner’s documentary about the Australian bushfires of 2019-2020 is a quick-paced and informative, if overly conventional, work that’s best when it lets its anger fuel its storytelling.
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