On Mark Kendall’s documentary La Camioneta, doing business with Mexico’s drug cartels, and what old school buses have to do with self-determination.
Susie Neilson talks to the director of The Institute, a documentary about an alternate reality game that had San Franciscans wandering the city streets in search of heaven on earth.
A new documentary on Indonesia’s 1965-66 anti-communist genocide is taking the international festival circuit by storm. But in the country that most needs to see it, the film is underground, its crew largely anonymous.
Looking back at Norman Mailer, Diane Arbus, Tom Wolfe, and the magazine that brought them all together.
A profile of photographer LaToya Ruby Frazier, whose exhibition A Haunted Capital is at the Brooklyn Museum through August.
Life in a Chinese artists’ colony through the eyes of the local taxi driver
How do you solve a problem like Beyoncé? With her autobiography pic and some drag artists from the ’80s.
Climate change activism collides with indigenous land movements in Mexico’s Zapatista heartland, where the interests of a green economy threaten to crowd out the voices of those for whom it matters.
Chinese artist Ai Weiwei is now as notorious for his political actions as for his work. Alison Klayman’s new documentary, Ai Weiwei: Never Sorry, shows that his originality comes precisely from combining the two.
Documentarian Annie Eastman tells the stories of families in Salvador’s palafitas—water slums built on piles of garbage—and confronts her outsider status.
The documentary Marina Abramovic The Artist Is Present gives an inside look at the artist’s discipline, creative process, and love story.
Peter Hoffman documents an Illinois home that helps refugees take the next step towards establishing a stable new life in the U.S.