The latest from the filmmaker behind "American Honey" and "Fish Tank" is an ecologically minded endeavor that finds comfort in the uncomfortable.

Filmmaker Sam Jones returns with a standard-issue documentary bookended by somber inquiries into the price of passion.

Director Robert Greene's newest film is a display of selflessness, and a vital new chapter in the dark saga of abuse covered up by the Catholic church.

The multinational effort to rescue a Thai youth soccer team from a slowly flooding cave is recounted in astounding detail but with an overcautious hand.

As much an inquiry into the legacy of Alvin Ailey as a celebration of his art, Neon's new documentary is often as mesmerizing and graceful as its subject.

Like its subject, Morgan Neville's new documentary reveals itself to be a bit of a contradiction.

For the "Baby Driver" and "Hot Fuzz" director, his first documentary is a dream assignment. For the Sparks uninitiated, it's a poignant whirlwind of an education.

Filmmaker Theo Anthony's work is an abstract, staggering and purposefully overwhelming journey into the tango between perspective and power.

Politics, personal histories and border region complexities tangle in the new documentary from filmmaker and Texas journalist Maisie Crow.

As was the case with its predecessor, the title of “Life in a Day 2020” says it all—even if saying it all in regards to 2020 means something more consequential and ostensibly ambitious.

Constructed with a spirit of take-life-as-it-comes open-endedness that feels both invigorating and dangerous, “Cusp” becomes a documentary about three young girls trying to avoid being defined by the boys and men in their lives. Its ultimate accomplishment is that we absolutely come to believe they can, as well as triumph over so much more, despite the tensions lurking in the underbrush of teenage ennui.

“The Most Beautiful Boy in the World'' showcases an inherent element of nonfiction storytelling that too many documentarians end up disguising in the final work—the idea that the questions we initially set out to answer are not always the ones that are most intriguing later on.

If the history explored in Sam Pollard’s relatively straightforward yet revelatory “MLK/FBI” were in danger of emanating a certain obviousness about the United States’s infrastructural hypocrisies pertaining to its treatment of Black citizens, recent events render those concerns moot. Having premiered at September festivals with images from a summer of protest still fresh in viewers’ minds but the thought of a deadly siege at the nation’s governmental heart too dystopian for most to consider, this documentary takes on renewed significance as it prepares to wide-release on Friday—just nine days after a group of largely pro-Trump radicals stormed the U.S. Capitol, looting souvenirs, kicking back at political leaders’ desks and asserting fiery reality for anyone still denying that America can afford to delay its reckonings.

Tell someone that the documentary they’re about to watch is an education on the experiences of those diagnosed with autism, and their expectation may be a movie of convention—of clearly defined talking head subjects and a rigid structure that more effectively snoozes rather than informs.

Not so in the case of director Jerry Rothwell’s captivating and occasionally cosmic new effort “The Reason I Jump.”