The construction of subjectivity in first-person documentary is given serious consideration in The Cinema of Me: The Self and Subjectivity in First
Personal Docs
In Imago, the Chechnya-born filmmaker Déni Oumar Pitsaev journeys to a Chechen enclave in Georgia named Pankissi, where his mother has secured a plot of land for him to settle down. He spends time with his mother, with whom he’s close, and a hearty cousin and a friend, but he has barely seen his father since his parents divorced when he was nine months old. That’s on top of a childhood marked by his and his mother’s stays in Kazakhstan, Chechnya, and—when the Russians attacked Grozny in 1996—St. Petersburg, where she changed his Chechen name for his protection. After Imago won L’Œil d’Or, the best documentary prize of Cannes, Documentary interviewed Pitsaev about starring in a film about his life journey and the balance between pre-planning and responding in the moment.
Documentary is happy to debut the trailer for Peter McDowell’s first feature, Jimmy in Saigon (2024) . The film premiered last year at BFI Flare
Documentary is happy to debut the trailer for Vicky Du’s first feature, Light of the Setting Sun (2024) . The film premiered last year at Full Frame
Documentary is happy to debut an exclusive clip from Beth Lane’s debut feature UnBroken , which won a prize for best documentary feature premiere at
In the Winter 2024/2025 cover essay of Documentary magazine, No Other Land’s collective of Palestinian and Israeli co-directors imagine a reciprocal, shared future in front of and behind the camera.
For the past eight years, the making of Shiori Ito’s feature debut, Black Box Diaries, has consumed the majority of her life. A riveting portrait of
After spending her early career making documentaries for British television, primarily for the public service broadcaster Channel 4, Victoria
At the bottom of page 49 in a 1993 edition of the fabled Argentine film magazine El Amante , there is a sidebar titled “Experimental Cinema,” written
New Yorker staff writer Lawrence Wright remembers colleagues asking, “Why do you live in Texas?” when his location shouldn’t have been exceptional