• News
  • Videos
  • Adobe Premiere Tips
  • About
  • FocusPulling.com
Menu
  • News
  • Videos
  • Adobe Premiere Tips
  • About
  • FocusPulling.com

Author Description

Paul Moon
Connect on Facebook Connect on Twitter Connect on Linkedin

H. Paul Moon is a filmmaker based in New York City and Washington, D.C. whose works concentrate on the performing arts. Major films include “Sitka: A Piano Documentary” about the craftsmanship of Steinway pianos, “Quartet for the End of Time” about Olivier Messiaen’s transcendent WWII composition, and an acclaimed feature film about the life and music of American composer Samuel Barber that premiered on PBS. Moon has created music videos for numerous composers including Moondog, Susan Botti and Angélica Negrón, and three opera films set in a community garden. His film “The Passion of Scrooge” was awarded “Critic's Choice” by Opera News as a “thoroughly enjoyable film version, insightfully conceived and directed” with “first-rate and remarkably illustrative storytelling.” Further highlights include works featured in exhibitions at the Nevada Museum of Art and the City Museum of New York, PBS television broadcasts, and best of show awards in over a dozen international film festivals.

19 June 2026

This Week In Documentary

Written by Paul Moon

Father’s Day is this week, and I’ve somehow never recognized the holiday in this newsletter in the past. It is a special occasion for me. I became a father the morning after Father’s Day 2012 (my wife went into labor nearly 24 hours earlier, ruining our BBQ brunch plans), so I am usually thinking more about my oldest child rather than myself. Nonfics came about a year later, so I’ve been the father of this site for nearly as long as I’ve been an actual dad. Anyway, it’s about time I shared some favorite documentaries about dads (and where you can watch them).

Too many films are made by filmmakers about their dads, but the recently released Third Act (now streaming via PBS) is pretty good, and Sarah Polley’s Stories We Tell (Kanopy, Tubi, and Fawesome) stands out so much that I forget it fits the subgenre. Alan Berliner’s Nobody’s Business (Kanopy) is also kind of a classic. Lynne Sach’s Film About a Father Who (OVID and Metrograph) is pretty interesting. So is Nathaniel Kahn’s Oscar-nominated feature My Architect (The Criterion Channel). Mark Wexler’s Tell Them Who You Are (Pluto TV) is terrible, but I never stop thinking about it, mainly because I love Haskell Wexler. Ondi Timoner’s Last Flight Home (Paramount+ Premium) is absolutely devastating.

The saddest documentary about a father, however, is Dear Zachary: A Letter to a Son About His Father (Kanopy, Prime Video, and Pluto TV). Contrasting with that is the often amusing punk dads documentary The Other F Word (Kanopy, Tubi, Night Flight, and Fawesome). Two documentaries worth watching that feature famous actors and their fathers are Chris Smith’s Sr. (Netflix), starringRobert Downey Jr. and Robert Downey Sr., and Geeta Gandhbir and Perri Peltz’s Remembering the Artist: Robert De Niro, Sr. (currently unavailable), starring Robert De Niro, who is apparently a junior, and his dad. But my top pick for Father’s Day viewing, especially paired with the best nigiri you can find (which won’t be good enough), is Jiro Dreams of Sushi (Kanopy).

Below are this week’s documentary highlights, followed by daily listings for all known releases and broadcasts, along with a brief look at what’s coming soon for doc fans. Please consider becoming a paid subscriber to receive more in-depth highlights and reviews in the future, plus full access to special posts like our best-of lists, and to give me more time to watch more (if not everything) available. If you have a doc needing coverage or a mention, you can reach us at nonficseditor (at) gmail.

Nonfics Pick Of The Week: Peter Asher: Everywhere Man (2025)

For the second week in a row, our Pick is a documentary about a fairly successful pop artist who became a legendary record producer. Unlike Eno, however, Peter Asher: Everywhere Man is not very notable for its construction. It’s a relatively conventional music documentary. Still, the feature similarly centers on its very present subject, who guides the storytelling through newly captured interviews. The film also includes footage of a recent stage performance, where he tells tales of his life and career between singing classic tunes. It’s these tales, supplemented with archival material, that keep the documentary engaging. I was surprisingly delighted by the whole thing.

I wasn’t familiar with Peter Asher as such a significant figure in the history of 20th-century music, though I knew a few of his songs from his Peter and Gordon days. If you don’t know much about him, the documentary will be a trivial yet entertaining trip through the decades with an extraordinary character. Compiled for a narrative throughline, points in Asher’s life make him seem like the Forrest Gump of the recording industry. These markers include the time his family took in Paul McCartney, the day he was partially responsible for introducing John Lennon to Yoko Ono, and the years he helped make James Taylor a star of a new era of soft rock.

Even though Asher is an interesting subject in his own right, with many monumental career achievements, he seems to sell himself a bit short in the stage show and film by telling so many stories about other, more famous people. It’s almost like he’s a namedropper, yet I think it’s more about him yearning for his own credit for the parts he played in these other lives and careers. Then again, I don’t think he wants to be blamed for breaking up The Beatles or the marriage of John Dunbar and Marianne Faithfull either. He was just there for those turns of events. He indeed deserves recognition for many things seen in the documentary, and for how charismatic he is on stage and screen, making the film such an enjoyable watch.

Peter Asher: Everywhere Man will be released theatrically in New York City on Friday, June 19, 2026, via Greenwich Entertainment, before expanding to Los Angeles and elsewhere the next weekend.


Other Documentary Highlights

Kamala Harris in The American Experiment

The American Experiment (2026)

Taking a break from the comparatively modern focus of his Turning Point docuseries for Netflix, Brian Knappenberger remains at the streamer with another timely historical venture. Just in time for the nation’s 250th birthday next month, The American Experiment is a five-part series about the origins of the United States, from the Declaration of Independence through the Revolutionary War and the drafting of the Constitution to the start of George Washington’s presidency. Coming on the heels of Ken Burns’s award-winning program The American Revolution, this series needs something to stand out. Landing an impressive bipartisan cast of talking heads, including Kamala Harris, Ted Cruz, Al Gore, Rand Paul, Nancy Pelosi, Mike Pence, and Hillary Rodham Clinton, alongside the historians, could be that something.

The American Experiment premieres and begins streaming exclusively on Netflix on Wednesday, June 24, 2026.

Enongo (2025)

One of my favorite underseen biographical documentaries of the last 20 years is Persistence of Vision, about animator Richard Williams. That film’s director, Kevin Schreck, has a new biographical documentary that heavily incorporates animation. Enongo is a feature spotlighting the music artist best known as Sammus. She’s a rapper, record producer, and now doctor (in science and technology studies). The title comes from her legal first name, hinting that the film will look more at the woman behind the nerdcore icon, but it’s still likely to appeal mostly to fans of her music.

Enongo will begin streaming on Indiepix Unlimited on Friday, June 19, 2026.

Growing Up Online (2008)

This week’s Doc Option is inspired by Toy Story 5. The new Disney/Pixar animated feature addresses children’s addictive use of devices and the effect that these digital playthings have on their psychological and social development. Unsurprisingly, it doesn’t entirely villainize tablets, social media, or the internet, but it does hint at the dangers of too much screen time and depicts an act of cyberbullying. Some of its ideas seem tardy, though we’ve seen several documentaries lately tackling the subject of kids in the digital era, the best being Lauren Greenfield’s series Social Studies. But the Frontline episode Growing Up Online arrived much earlier, before Toy Story was even on its second sequel, and it’s still the most astute and affecting look at connected youth.

Growing Up Online is available to stream for free on the PBS website via Frontline.

Juneteenth Documentaries

Many documentaries are fitting for Juneteenth viewing, with the most notable being the specifically related PBS films Juneteenth: Faith & Freedom (also available on Fawesome) and Juneteenth: The Long Road to Freedom. While I’ve seen some museums hosting screenings honoring the holiday, including This World is Not My Own here in Atlanta, I’ve only seen one streaming platform celebrating the occasion with its programming. OVID will debut the documentaries With Peter Bradley and Quiet Voices in a Noisy World, about a Black artist and a group of Black community volunteers, respectively. Neither has to do with the end of slavery in America, but they’ll do.

Kukan (1941)

Last week, I wrote about the two documentary “features” that received special recognition at the 14th Academy Awards, Kukan and Target for Tonight. These weren’t just the next titles chronologically to look at in my series of columns about Oscar-winning films, but the former was also approaching its anniversary. Kukan, which directly depicts China’s resistance and resilience in its conflict with Japan during World War II, premiered at the World Theatre in New York City on June 23, 1941. Here’s an excerpt from my post about the film and its co-honoree:

“Far from perfect, the film is guilty of exoticization, as was common at the time, though it also humanizes the Chinese people more than expected for that period. Kukan holds them at a distance as others, while also attempting to relate to Western viewers by acknowledging increased American influence and aid, particularly in engineering, exploiting the excitement of “pandamania” in the U.S., and using a phrase such as “the George Washington of China” to describe their revolutionary founding father, Sun Yat-sen. The film also has some awfully generic narration, voiced by actor Niles Welch. Yet it works in its familiar normalcy, helping in the initial travelogue tone that calmly and comfortably draws the audience to immerse themselves in this land and its people.”

Kukan is not officially available to stream anywhere, but a crude copy of its restored print can be found on YouTube.

We Are Pat (2025)

Another documentary recently reminded me that people laugh at things they don’t understand, and they shouldn’t. But that is a lot of where comedy comes from, the unusual and the backwards. I don’t mean to apologize for any comedy that’s harmful. But I see an innocence in some ignorance when humor is involved, especially when it can become a teaching tool. I don’t know if that’s how We Are Pat looks back at the “It’s Pat” Saturday Night Live sketches starring Julia Sweeney as an androgenous character. It’s no doubt a good example for addressing what was acceptable in the 1990s but not today, particularly as it relates to gender politics and trans identity. Rowan Harber won a Special Award at last year’s Tribeca Film Festival for making a standout feature debut, and I hope it’s as substantial an examination of a legacy of misjudged LGBTQ+ representation of its time as Sav Rodgers’s Chasing Chasing Amy.

We Are Pat will be released on VOD on Tuesday, June 23, 2026, via Tribeca Films.

The Welcome Table (2026)

Josh Fox, who earned an Oscar nomination for his first documentary feature, Gasland, 15 years ago, continues to show his concern for the environment with his latest film, The Welcome Table. This time, he’s focused on people displaced by hurricanes, mudslides, and other disasters caused by climate change. The title refers to an idea that is literalized on screen as Fox unites many of the film’s participants in one location to share and discuss. The Welcome Table also addresses current immigration policies in the U.S. and elsewhere that are exacerbating the issue, as climate refugees are shown little empathy and given little choice in bettering their situation.

Sadly, as with most of Fox’s documentaries, his first-person narration dominates too much of the conversation. Presumably, he wants us to listen to the subjects he’s gathered, but he keeps interrupting them in the voiceover with his own thoughts and points, as if he’s the most important part of this film. In one of the segments, he even appears in a way that briefly feels self-important if not entirely self-centered. There are also several cutaways to music performances he has set up in support of the issue. Very few of the participants are memorable, unfortunately, because they’re given such minimal screen time to tell their own stories. One Sicilian man trying to help climate refugees deserves his own film. But they all come across as props for Fox’s message rather than individuals in need of being (or allowed to be) heard. I hate to say it, but I really wanted to turn The Welcome Table off very early into its 130-minute runtime

The Welcome Table premieres on HBO and HBO Max on Tuesday, June 23, 2026.

Subscribe now


Documentary Release Calendar 6/19/26 – 6/25/26

Enongo

Friday, June 19, 2026

Deadliest Catch Season 22, Episode 7: “Wrong Side of the Law” – The latest installment of a series that follows Alaskan crab fishermen. (Discovery Channel)

Enongo (2025) – A partly animated documentary about rapper/producer/academic Enongo Lumumba-Kasongo, a.k.a. Sammus. See our highlights section for more info. (Indiepix Unlimited)

Peter Asher: Everywhere Man (2025) – A biographical documentary feature about the titular pop star turned manager and record producer. See our highlights section for more info and a brief review. *NONFICS PICK* (In Theaters)

Quiet Voices in a Noisy World (2025) – A documentary feature about Black volunteers in Jasper, Texas, working to advance social justice. (OVID)

Shoot the People (2025) – A documentary feature that follows photographer and activist Misan Harriman as he captures global protests. (In Theaters)

With Peter Bradley (2023) – A documentary feature about the titular abstract artist. (OVID)

Saturday, June 20, 2026

Craig Ferguson: American on Purpose Episode 4: “Land of the Individual” – The fourth installment of a five-part docuseries on what it means to be American. (CNN)

Hotline (2015) – A documentary feature about The Hotline for Refugees and Migrants, an NGO based in Tel Aviv. (ChaiFlicks)

I Heard It Through the Grapevine (1982) – A documentary feature starring James Baldwin as he looks back at the Civil Rights Movement. *NONFICS PICK* (TCM)

Philly Homicide Season 2, Episode 10: “Killer in the Shadows” – The latest installment of a docuseries following Philadelphia detectives. This episode involves the death of a young newlywed. (Oxygen True Crime)

The Root of the Game (2026) – A docuseries about the amateur soccer scene in São Paulo, Brazil. (Netflix)

Sunday, June 21, 2026

The Food That Built America Season 7, Episode 9: “Burgers, Burritos, & the Battle for Fast Food” – The latest installment of a docuseries about popular American foods. This episode involves fast food restaurants. (History)

Hazardous History with Henry Winkler Season 2, Episode 9: “Crowd Chaos” – The latest installment of a docuseries about dangerous toys and household items that used to be common. This episode involves perilous crowd situations. (History)

In the Eye of the Storm: Chasers Episode 6: “Tornado of the Year” – The final installment of a six-part spinoff of the docuseries In the Eye of the Storm that follows weather spotters and storm chasers as they record tornadoes. (Discovery Channel)

The Killer Among Us Episode 6: “In the Shadow of the Steeple” – The latest installment of a docuseries hosted by Alan Cumming about murders in close-knit communities. This episode involves the killing of a Kentucky churchgoer. (Oxygen True Crime)

On the Trail of UFOs: The Disclosure Era Episode 1- The first installment of an investigative docuseries in the On the Trail of UFOs franchise about the government declassification of files on UAP, aka UFOs. (VOD)

This Land Episodes 5 & 6: “The Last Wild Frontier” & “Empire Island” – The final two installments of a limited docuseries that explores the history of America through six defining frontiers. (CNN)

UFC Rivals (2026) – A docuseries about MMA feuds. (A&E)

Monday, June 22, 2026

Assembly (2025) – A documentary on artist Rashaad Newsome and his installation at New York’s Park Avenue Armory that explores Black and queer identity. Presented as an installment of Independent Lens. (PBS)

History’s Greatest Machines with Dolph Lundgren Episode 4: “Devices of Deception” – The latest installment of a docuseries about the machines that shaped our world. (History)

Where It Lies Episode 3: “Augusta Municipal Golf Course (The Patch) in Augusta, Georgia” – The third installment of a four-part series about public golf. (ESPN App)

Tuesday, June 23, 2026

Coroner to the Stars (2025) – A documentary feature about Dr. Thomas Noguchi, the former chief medical examiner for Los Angeles County, who performed autopsies on many celebrities. (Theatrical Roadshow)

Expedition Unknown Season 17, Episode 1 – The return of a docuseries that follows an archaeologist looking for lost artifacts. (Discovery)

The Proof is Out There: Unexplained Edition Season 2, Episode 4: “The Bigfoot Connection” – The latest installment of a docuseries about strange phenomena captured on camera. (History)

The Secret of Skinwalker Ranch Season 7, Episode 6: “All Mesa’d Up” – The latest installment of a docuseries about UFO phenomena at the Skinwalker Ranch. (History)

We Are Pat (2025) – A documentary feature about the controversial Saturday Night Live “It’s Pat” sketches from a trans visibility perspective. See our highlights section for more info. (VOD)

The Welcome Table (2026) – A documentary feature by Oscar-nominated filmmaker Josh Fox (Gasland) about climate refugees. See our highlights section for more info and a brief review. (HBO and HBO Max)

Wednesday, June 24, 2026

The 1957 Transcripts (2024) – A documentary feature about an incident on the Israel border in 1956 when 47 civilians were killed. (OVID)

The American Experiment (2026) – A five-part docuseries by Brian Knappenberger (Turning Point: The Bomb And The Cold War) about the founding of America. See our highlights section for more info. (Netflix)

Beyond the Attraction Season 3, Episodes 1 & 2: “Disney Cruise Line Origin Story” & “Disney Destiny” – The two latest episodes of a docuseries about Disney attractions. These episodes look at Disney cruises. (Disney+)

The Face Doctors Season 2, Episode 7: “A Walking Miracle” – The latest installment of a nonfiction series about facial reconstruction specialists and their patients. (TLC)

Thursday, June 25, 2026

Remembering Gene Wilder (2023) – A feature documentary about the star of Willy Wonka and the Chocolate Factory and Young Frankenstein. (Kino Film Collection)

Surviving Earth Episode 3: “When the Asteroid Fell” – The third installment of an eight-part docuseries about extinct creatures. This episode involves dinosaurs. (NBC)

Welcome to Wrexham Season 5, Episode 8: “We Go Again” – The latest installment of a docuseries about a Welsh soccer team co-owned by actors Ryan Reynolds and Rob McElhenney. (FXX)

Share Nonfics


Sneak Peek At What’s Coming Soon

6/26 – Chris & Martina: The Final Set – A documentary feature about tennis icons Chris Evert and Martina Navratilova. (Netflix)

6/27 – Room Tone: The Sound of The Room – A short documentary about Tommy Wiseau’s cult film The Room from the perspectives of its sound mixer and boom operator. (PVOD and Blu-ray)

7/2 – This World is Not My Own – A documentary feature about the artist Nellie Mae Rowe. (Black Public Media)

7/3 – Mary Oliver: Saved by the Beauty of the World – A documentary feature about the titular poet and queer icon. (In Theaters)

7/10 – Baby Doe – A true-crime documentary about a woman accused of murdering her newborn baby. Watch the new trailer for the film below. (In Theaters)

7/17 – American Pachuco: The Legend of Luis Valdez – A documentary feature about the titular activist and filmmaker. (In Theaters)

7/20 – Solo Traveling with Tracee Ellis Ross Season 2 – The return of a travelogue series starring the titular actress. (The Roku Channel)

7/22 – Pompeii: Out of Time – A three-part docuseries starring Tom Hiddleston about the final hours of Pompeii before the eruption of Mount Vesuvius. Watch the new trailer for the series below. (National Geographic)

7/24 – Dread Beat and Blood – A re-release of a newly restored 1979 documentary about dub poet master Linton Kwesi Johnson. (In Theaters)

7/28 – Wham! 20 Days in China – A documentary feature about a Wham! concert tour. (In Theaters)

10/16 – Once Upon a Time in Harlem – A documentary feature co-directed by the late William Greaves (Symbiopsychotaxiplasm: Take One), resurrecting footage he shot in 1972 of a get-together of Harlem Renaissance legends. (In Theaters)

Nonfics is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.

Uncategorized Comments are off
16 June 2026

Isn’t Documentary a Bulwark for Democracy?

Written by Paul Moon

During February’s Berlinale, I attended a European Parliament event that convened policymakers and industry leaders to address a key question confronting the continent’s creative industries: How can cultural sovereignty and democratic discourse be safeguarded in a platform-dominated media environment?

The session—”Creative Industries Under Pressure: Balancing Cultural Diversity, Artistic Freedom, and Competitiveness in the Platform Era”— was framed not as a narrow industry debate but as a matter of demo­cratic resilience. Moderator Michael Gubbins, former editor of Screen International, opened by suggesting that Europe has entered a period of cultural realignment requiring decisive choices about how its creative sectors are supported. Sabine Verheyen, First Vice-President of the European Parliament, argued that cinema is not only an art form or an economic sector, but a democratic instrument—one that strengthens empathy, diversity, and freedom of expression through Europe’s inde­pendent film ecosystem.

That ecosystem is increasingly under pressure. Global streaming platforms, overwhelmingly headquartered in the United States, are reshaping cultural visibility and production. Algorithmic recommenda­tion systems, optimized for retention, risk narrowing what audiences see. When control over visibility is concentrated in relatively few hands, the implications extend beyond competition. They raise questions about cultural diversity, artistic freedom, and the health of the democratic public sphere.

Participants argued that addressing these challenges requires an ecosystem approach to cultural policy—one that spans creation, produc­tion, distribution, exhibition, education and regulation. They rejected the notion that governments must choose between supporting cultural diversity and maintaining global competitiveness. Both are necessary. Selective funding and economic instruments such as tax incentives each play distinct roles, while platforms must operate within rules that protect local industries, respect intellectual property and reinvest in national production.

In March, I attended the CPH:DOX industry summit on the timely topic of media sovereignty, which echoed many themes of the earlier discussion.

As in Berlin, speakers in Copenhagen described a media landscape undergoing structural change. Platform concentration, algorithmic distribution and the rapid emergence of AI are reshaping how audi­ences encounter information. Public institutions that once anchored the circulation of fact-based media—from broadcasters to cinemas to cultural venues—are under strain. The result is not only an economic challenge, but an infrastructure crisis for public-interest media.

One panel described this in terms of epistemic security, reflecting on threats to the systems through which societies produce and share trustworthy knowledge. Documentary and investigative journalism remain central to that ecosystem, yet the infrastructures that carry them are increasingly mediated by commercial platforms whose priorities may not align with democratic or cultural objectives.

Against this backdrop, documentary occupies a distinctive place in the audiovisual landscape. It assembles evidence, testimony and lived experience into narratives that help societies understand themselves. At its best, it operates as a bridge between journalism, culture and civic discourse.

Yet the conditions that allow these stories to be made and seen are evolving.

Documentaries rarely arrive with the signals that make financing decisions straightforward. They seldom feature internationally recogniz­able stars, often tackle complex or contentious subjects and depend on audiences that develop gradually through festivals, community screen­ings, educational engagement and word-of-mouth.

Documentary audiences, in other words, are cultivated rather than captured.

For this reason, several speakers in Copenhagen argued that pub­lic-interest storytelling cannot rely on market incentives alone. The infrastructures supporting documentary—from funding mechanisms to exhibition spaces to public broadcasters—must reflect the form’s distinctive dynamics. Cultural value and market value do not always appear on the same timeline.

These discussions were rooted in European policy debates, but the parallels with Canada are striking.

Here, too, the systems that support documentary are shifting. The Canada Media Fund (CMF) has previewed changes to its 2026–2027 pro­gram guidelines that will reshape access to public financing. A greater reliance on broadcaster and distributor envelopes means producers will increasingly require not only a licence or distribution advance, but an envelope allocation to unlock CMF support.

These changes reflect real pressures. Traditional revenues tied to linear broadcasting are declining, while demand for public funding remains high. In that context, it is understandable that the CMF is seeking stronger market signals and clearer pathways to audiences.

But the conversations in Berlin and Copenhagen acknowledged that market signals seldom capture documentary’s true value.

European policymakers increasingly describe documentary and investigative media not simply as creative industries, but as components of democratic infrastructure. Their argument is not that markets are irrelevant, but that markets alone are insufficient to sustain forms of storytelling whose impact unfolds through civic conversation, educa­tion and public reflection.

From that perspective, cultural policy has a dual role: supporting competitiveness while ensuring that culturally and democratically significant work continues to exist—even when its audience pathways are less predictable.

Canada’s cultural institutions share many of these ambitions. But the frameworks through which they are pursued shape which projects are most easily realized.

If investment systems rely too heavily on short-term market indicators, documentaries will be undervalued. Projects that explore complex social issues, regional realities, or marginalized perspectives often require time and sustained engagement before their significance becomes visible. Measured purely through immediate commercial potential, such works may appear riskier than they actually are.

And these questions are not unfolding in isolation.

Media reports have conveyed that Canada’s Online Streaming Act is again becoming a point of tension with the United States. A recent bill introduced by U.S. lawmakers seeks to trigger a trade investigation into whether the Canadian measure discriminates against American stream­ing companies, potentially leading to retaliatory tariffs. [In May, the CRTC released updates to the Online Streaming Act with major implications for documentary.]

This raises familiar questions about the limits of Canada’s cultural sovereignty. While cultural exemptions have long protected domestic policy, there are indications they may be tested in the digital context, where the boundaries of cultural regulation remain unsettled.

Taken together, these developments suggest that the debate over documentary—and public-interest storytelling more broadly—is not only about funding models or audience metrics. It is also about whether countries are prepared to assert and defend the cultural frameworks that sustain their creative ecosystems.

The conversations in Berlin and Copenhagen make clear that some jurisdictions are treating these questions as central to democratic resil­ience. Canada is now facing similar choices.

The challenge ahead is not a question of choosing between cultural policy and industrial competitiveness. Instead, it’s a matter of determin­ing how far we are willing to go in sustaining both.

If documentary is to remain a means for Canadian society to examine itself, encounter complex realities and imagine shared futures, then the question facing our cultural institutions is not which projects demon­strate the clearest market potential.

Rather, the true question is whether we are prepared to defend the conditions that allow those stories to exist at all.

The post Isn’t Documentary a Bulwark for Democracy? appeared first on POV Magazine.

Uncategorized Comments are off
16 June 2026

‘Kukan’ & ‘Target For Tonight’ Proved The Need For An Oscar For Best Documentary Feature

Written by Paul Moon

By the 14th Academy Awards, there was still no Oscar designated for documentary features. One such film had won an Academy Award, but that was in the Best Cinematography category. Meanwhile, short documentaries were honored throughout the 1930s. There was even a category meant specifically for nonfiction shorts, Best Live Action Short Subject (Novelty), from the 5th to the 8th Academy Awards. At the 14th ceremony, held in February 1942, the Best Documentary (Short Subject) category was introduced. One year later, shorts and features (none of them more than an hour in length) were lumped together for a Best Documentary category. The Academy wouldn’t give out its first Oscar for Best Documentary (Feature) until its 16th show.

At the 14th Academy Awards, however, two medium-length documentaries — both too long to be considered shorts by the organization and therefore treated instead as features — were recognized separately and specially. Target for Tonight received a Special Award “for its vivid and dramatic presentation of the heroism of the RAF.” Well, technically, the honor went to the British Ministry of Information. And for the film Kukan (a.k.a. Kukan: The Battle Cry of China or Kukan: The Secret of Unconquerable China), Rey Scott received a Special Award “for his extraordinary achievement in producing…the film record of China’s struggle, including its photography with a 16mm camera under the most difficult and dangerous conditions.”

Nonfics is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.

These honorary Oscars were a tease of things to come. Short documentaries were much more common, but longer-form nonfiction works also deserved accolades, especially if they aided the recently declared war effort. As with the Best Documentary (Short Subject) category, nominees and winners in the Best Documentary (Feature) category would primarily consist of films related to World War II, its causes, and its aftermath for the award’s first five years. Both of the documentary Special Awards honorees were released in the U.S. months before the country entered the war, and it’s difficult to imagine that they’d have been celebrated without the official declaration. It’s also difficult to imagine them not being celebrated after that decision.


Read more

Uncategorized Comments are off
16 June 2026

‘Kukan’ & ‘Target For Tonight’ Proved The Need For An Oscar For Best Documentary Feature

Written by Paul Moon

By the 14th Academy Awards, there was still no Oscar designated for documentary features. One such film had won an Academy Award, but that was in the Best Cinematography category. Meanwhile, short documentaries were honored throughout the 1930s. There was even a category meant specifically for nonfiction shorts, Best Live Action Short Subject (Novelty), from the 5th to the 8th Academy Awards. At the 14th ceremony, held in February 1942, the Best Documentary (Short Subject) category was introduced. One year later, shorts and features (none of them more than an hour in length) were lumped together for a Best Documentary category. The Academy wouldn’t give out its first Oscar for Best Documentary (Feature) until its 16th show.

At the 14th Academy Awards, however, two medium-length documentaries — both too long to be considered shorts by the organization and therefore treated instead as features — were recognized separately and specially. Target for Tonight received a Special Award “for its vivid and dramatic presentation of the heroism of the RAF.” Well, technically, the honor went to the British Ministry of Information. And for the film Kukan (a.k.a. Kukan: The Battle Cry of China or Kukan: The Secret of Unconquerable China), Rey Scott received a Special Award “for his extraordinary achievement in producing…the film record of China’s struggle, including its photography with a 16mm camera under the most difficult and dangerous conditions.”

Nonfics is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.

These honorary Oscars were a tease of things to come. Short documentaries were much more common, but longer-form nonfiction works also deserved accolades, especially if they aided the recently declared war effort. As with the Best Documentary (Short Subject) category, nominees and winners in the Best Documentary (Feature) category would primarily consist of films related to World War II, its causes, and its aftermath for the award’s first five years. Both of the documentary Special Awards honorees were released in the U.S. months before the country entered the war, and it’s difficult to imagine that they’d have been celebrated without the official declaration. It’s also difficult to imagine them not being celebrated after that decision.


Read more

Uncategorized Comments are off
16 June 2026

‘Kukan’ & ‘Target For Tonight’ Proved The Need For An Oscar For Best Documentary Feature

Written by Paul Moon

By the 14th Academy Awards, there was still no Oscar designated for documentary features. One such film had won an Academy Award, but that was in the Best Cinematography category. Meanwhile, short documentaries were honored throughout the 1930s. There was even a category meant specifically for nonfiction shorts, Best Live Action Short Subject (Novelty), from the 5th to the 8th Academy Awards. At the 14th ceremony, held in February 1942, the Best Documentary (Short Subject) category was introduced. One year later, shorts and features (none of them more than an hour in length) were lumped together for a Best Documentary category. The Academy wouldn’t give out its first Oscar for Best Documentary (Feature) until its 16th show.

At the 14th Academy Awards, however, two medium-length documentaries — both too long to be considered shorts by the organization and therefore treated instead as features — were recognized separately and specially. Target for Tonight received a Special Award “for its vivid and dramatic presentation of the heroism of the RAF.” Well, technically, the honor went to the British Ministry of Information. And for the film Kukan (a.k.a. Kukan: The Battle Cry of China or Kukan: The Secret of Unconquerable China), Rey Scott received a Special Award “for his extraordinary achievement in producing…the film record of China’s struggle, including its photography with a 16mm camera under the most difficult and dangerous conditions.”

Nonfics is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.

These honorary Oscars were a tease of things to come. Short documentaries were much more common, but longer-form nonfiction works also deserved accolades, especially if they aided the recently declared war effort. As with the Best Documentary (Short Subject) category, nominees and winners in the Best Documentary (Feature) category would primarily consist of films related to World War II, its causes, and its aftermath for the award’s first five years. Both of the documentary Special Awards honorees were released in the U.S. months before the country entered the war, and it’s difficult to imagine that they’d have been celebrated without the official declaration. It’s also difficult to imagine them not being celebrated after that decision.


Read more

Uncategorized Comments are off
16 June 2026

‘Eno’ Review

Written by Paul Moon

Earlier this month, a handful of Gary Hustwit documentaries hit The Criterion Channel, including his Design Trilogy and the feature Rams, which is about an industrial designer. Until finally seeing Hustwit’s latest, Eno, I didn’t know how the documentary fit into the filmmaker’s area of focus. Now I can appreciate that the subject, Brian Eno, is something of a designer himself. Technically, in addition to being an iconic musician, songwriter, visual artist, pioneer of the ambient genre, and legendary record producer, he’s considered a professional sound designer. But as this film shows, he’s essentially also a music designer. Isn’t that just another term for songwriter or composer? Not really. Eno is both of those things as well, but based on how he describes his work, I’d say he’s more of a music designer.

Eno is a documentary that fits its subject’s concept of generative music, as Hustwit has employed a software system (human-coded, not AI as previously thought) to produce variations on its construction. Each time it’s shown, Eno can have a new edit, with different versions being in the quintillions. I wondered how that would work when it’s eventually put on a streaming site. The Criterion Channel has an answer: each month, the streamer will change the version of Eno available to subscribers.

I’ve only watched one version so far, so I don’t know if this gimmick really does anything noticeable. I do think that the film I saw works well to represent Eno, while not laying out his biography and career in an informative way. It’s more a sense of him and his life. Eno does much of the work that makes the documentary so riveting, since it’s mostly him talking about his work and how he came to be one of the world’s most sought-after recording artists and record producers, despite not initially knowing how to play any instruments or write music.

Eno has a way of explaining the brilliance of his music factually, so its genius isn’t something being bragged about. I’d much rather hear it from him than a bunch of peers, critics, fans, and historians spouting hyperbole about why he’s a legend. I could also listen to Eno talk about the importance of music for many more hours, or even more of him just asking if it’s time for lunch. As a speaker, he’s almost as entrancing as his music. He also, like his music, makes smooth work out of complexity. Is there more of this material that isn’t seen in this version but will be in others? I’m unclear. I’d have loved to hear him talk more about music’s role in spatial design.

Uncategorized Comments are off
16 June 2026

‘Eno’ Review

Written by Paul Moon

Earlier this month, a handful of Gary Hustwit documentaries hit The Criterion Channel, including his Design Trilogy and the feature Rams, which is about an industrial designer. Until finally seeing Hustwit’s latest, Eno, I didn’t know how the documentary fit into the filmmaker’s area of focus. Now I can appreciate that the subject, Brian Eno, is something of a designer himself. Technically, in addition to being an iconic musician, songwriter, visual artist, pioneer of the ambient genre, and legendary record producer, he’s considered a professional sound designer. But as this film shows, he’s essentially also a music designer. Isn’t that just another term for songwriter or composer? Not really. Eno is both of those things as well, but based on how he describes his work, I’d say he’s more of a music designer.

Eno is a documentary that fits its subject’s concept of generative music, as Hustwit has employed a software system (human-coded, not AI as previously thought) to produce variations on its construction. Each time it’s shown, Eno can have a new edit, with different versions being in the quintillions. I wondered how that would work when it’s eventually put on a streaming site. The Criterion Channel has an answer: each month, the streamer will change the version of Eno available to subscribers.

I’ve only watched one version so far, so I don’t know if this gimmick really does anything noticeable. I do think that the film I saw works well to represent Eno, while not laying out his biography and career in an informative way. It’s more a sense of him and his life. Eno does much of the work that makes the documentary so riveting, since it’s mostly him talking about his work and how he came to be one of the world’s most sought-after recording artists and record producers, despite not initially knowing how to play any instruments or write music.

Eno has a way of explaining the brilliance of his music factually, so its genius isn’t something being bragged about. I’d much rather hear it from him than a bunch of peers, critics, fans, and historians spouting hyperbole about why he’s a legend. I could also listen to Eno talk about the importance of music for many more hours, or even more of him just asking if it’s time for lunch. As a speaker, he’s almost as entrancing as his music. He also, like his music, makes smooth work out of complexity. Is there more of this material that isn’t seen in this version but will be in others? I’m unclear. I’d have loved to hear him talk more about music’s role in spatial design.

Uncategorized Comments are off
16 June 2026

‘1000 Men and Me: The Bonnie Blue Story’ Isn’t Available in the U.S., but We Found a Way to Watch

Written by Paul Moon

The NSFW documentary about the adult content creator is currently only available in the U.K. and Australia — but viewers in the U.S. can still watch it using this workaround

Uncategorized Comments are off
16 June 2026

‘1000 Men and Me: The Bonnie Blue Story’ Isn’t Available in the U.S., but We Found a Way to Watch

Written by Paul Moon

The NSFW documentary about the adult content creator is currently only available in the U.K. and Australia — but viewers in the U.S. can still watch it using this workaround

Uncategorized Comments are off
14 June 2026

5 Strategies for Taking Feedback (Without Losing Your Soul)

Written by Paul Moon

Greetings from the filmmaker lounge at DC/DOX, a truly great film festival in Washington, DC where I gave a masterclass this morning. I was up late stressing over it, but I think it went well.

When I’m not teaching workshops, writing this newsletter, making films, and running a production company — I also work as a paid consultant on nonfiction film projects. I realized since my consulting work is so aligned with this newsletter, I should create a benefit for anyone who wants a bit of both!

Anyone who subscribes at the Patron of the Arts level will receive not only all the benefits of the paid newsletter, but also a one-hour Zoom consultation with me. You can workshop a pitch, ask for advice or feedback on something, or gift it to a friend you want me to meet.

(Also: if you are already a Patron, you can request a consult too. Just get in touch!)

Teaching and consulting has made me think a lot about the creative process: not just what makes films better, but what makes artists better. And one skill seems to matter no matter what stage you’re at on your project or in your career: the ability to take feedback, without letting it completely derail you.

Sometimes I fantasize about being so rich, I could just make films without having to take a single note from anyone! “What incredible, artistic films I would make if everyone would just get out of my way!” I say to myself, smugly.

Whether it’s during work in progress or once the work is complete, every artist says they want feedback, but what we really want, of course, is praise.1

Every single rough cut screening I walk into, what I really want to hear is, “It’s perfect. Don’t change a thing. Go take a long vacation, you deserve it — oh, and here’s an Oscar, and a million dollars for your next film.” Somehow, the world has conspired to deny me this ideal outcome. It hasn’t even happened once. The indignity!!

Then, when the film is finally out in the world, I completely forget all the reasons I knew all along it won’t be for everyone. Suddenly, I expect every viewer on earth to agree that my baby is the most beautiful baby in the world. How could they not??2

While I still fantasize about never having to take another note again, I also know without a doubt many of the ideas that made my films better came from other people seeing things I couldn’t see myself. And if “art is completed by the viewer,” as Duchamp said, then feedback is how we find out what we really made.

Over the years, I’ve developed a few rules for figuring out when and how to ask for feedback, whose feedback matters, and how to hear even the harshest criticism without immediately spiraling into self-loathing or throwing myself into the sea.

5 Strategies for Taking Feedback (Without Losing Your Soul)


Read more

Uncategorized Comments are off
← Older posts
Newer posts →

B&H Search Engine Banner


B&H Photo - Video - Pro Audio














© Copyright 2022 by Zen Violence Films LLC, all rights reserved. To read the site privacy policy and ethics statement, click here.