Welcome to my annual birthday edition of This Week In Documentary. It’s not any different from the other newsletters I put out throughout the year, except that I feel okay making a heavier push (that is, begging) for paid subscriptions in the intro. Actually, for my birthday this year (it’s on Friday, March 20), I’d like you to donate to a documentary funding organization in my name. I don’t know enough about any, and I don’t have the money to do it myself, so I appreciate you figuring it out for me. Then, if you have anything left over, please become a paid Nonfics subscriber.

Also, please subscribe to Anthony Kaufman’s Substack and read his latest piece, “Can a U.S. Documentary Win an Oscar Anymore?” His analysis of why presumed frontrunner The Perfect Neighbor lost to the international favorite, Mr. Nobody Against Putin, doesn’t offer an easy answer to the headline’s question. Also, I wish more takes on the Oscars’ documentary categories put more thought into the shorts (the winner this year was a U.S. film put out by Netflix, contradicting most points about the feature upset). Still, I’m glad someone with real expertise about the nonfiction film arena has this platform for informed discussion.

Without further ado, 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 and most-anticipated lists, and to give me more time to watch more (if not everything) available. If you have a doc in need of coverage or a mention, you can reach me at christopherbartoncampbell (at) gmail.

Nonfics Pick Of The Week: Lumière, Le Cinema! (2024)

Thierry Frémaux, the director of the Cannes Film Festival, the Institut Lumière, and the Lumière Film Festival, is also now the director of his second documentary feature. Nearly a decade after his debut, Lumière!, his follow-up is titled Lumière, Le Cinema! (this is the same film as the one previously known as Lumière, l’aventure continue). It’s another compilation of Lumière films with narration by Frémaux. At the start of the film, he talks of this being an opportunity to see these films projected on the big screen, as was intended with the Lumières’ invention of their cinématographe. I confess that I did not watch it in this manner and would have preferred that chance.

At first, Lumière, Le Cinema! seems to be merely an assembly of Lumière films with commentary from Frémaux, but it’s more of an essay film. Frémaux breaks his documentary up into segments of different focus, including children, military scenes, international locations, and modes of transportation (surprisingly, he has little time for The Arrival of a Train at La Ciotat Station, which he shares is just one of many similar films). He begins with the history lesson of the Lumières, their invention, their first showings, and a good deal of attention given to the famed Leaving the Factory (the most recognizable version of which might not have been the original, apparently). Then it becomes more of a study of the films, their content (including the first “cat videos”!), and the Lumières’ recurring themes.

Among Frémaux’s more noteworthy comments is his opinion that Auguste was the better director of the brothers and should have made more films of his own. I also appreciate Frémaux’s agreement that fiction films are “documentaries of their own making” and so everything included in Lumière, Le Cinema! is nonfiction. The fiction films are also documentaries of how the world and people looked 130 years ago, even if the actions or circumstances at hand are made up. I really love Frémaux’s concluding remarks on cinema’s importance and how it’s about us seeing and understanding ourselves and others. I only wish I understood French, so I didn’t have to read Frémaux’s narration and miss so much of the films as he’s talking about them.

Lumière, Le Cinema! will be released in theaters on Friday, March 20, 2026.

Other Documentary Highlights

Hubble 3D (2010)

This week’s entry in AMC’s IMAX Documentary Showcase is the re-release of Hubble 3D, a 45-minute film directed by Toni Myers and narrated by Leonardo DiCaprio about the STS-125 Space Shuttle mission to service the Hubble Space Telescope in 2009. We recommend seeing this in theaters, as the 2D version available to stream for free on YouTube is just not the same. Here’s a brief excerpt from our recommendation of the film from our list of the best documentaries about space travel:

“Hubble is a one-of-a-kind experience that will both humble you and fill you with a sense of wonder for what a future amongst the stars could hold. Also, there is a zero-gravity taco-making scene! What could be better than that?”

Hubble 3D will screen in IMAX and in 3D at AMC Theatres locations on Saturday, March 21, 2026.

Keep Quiet And Forgive (2025)

I’m never certain whether I’m seeing the full cut of a film when it airs on PBS via Independent Lens, but I believe the version of Keep Quiet and Forgive that I watched was edited down by about eight minutes from its original length. In this case, that’s fine because I do think this documentary could have been a short. The film looks at sexual abuse in Amish communities with a focus on the survivors, most of them now living apart from that religious group. The participants in the documentary deserve to be heard and see the problem exposed, but there’s not much of a narrative structure here beyond the necessary spotlight on their respective stories.

It shouldn’t be surprising that a community based on old-fashioned living would have issues regarding the treatment of women, both physically and socially, but hopefully, this film will get viewers to realize that the obvious is not okay to be dismissed as such. Also, not all of the survivors are women, proving there’s more to it than that.

Keep Quiet and Forgive will make its broadcast premiere on PBS as an episode of Independent Lens on Monday, March 23, 2026.

Marc By Sofia (2025)

Due to its release schedule, I was unable to screen Marc by Sofia in time for its theatrical debut. The documentary doesn’t come to my neck of the woods until later, and screeners were not offered. Still, as it’s a major title from a big-name director (Sofia Coppola, making her documentary debut) and notable distributor (A24), I had to highlight the film sight unseen. It’s about the fashion designer Marc Jacobs, a subject that doesn’t especially appeal to me, but given the film’s logline calls it an “unconventional portrait,” I need to see what that means and if I’d agree with the claim.

Marc by Sofia will be released in theaters in New York City on Friday, March 20, 2026, and will expand to other cities on Friday, March 27, 2026.

White With Fear (2024)

There are no surprises in Andrew Goldberg’s White with Fear, at least not in terms of revelations. It may be surprising that so many conservative individuals agreed to be interviewed for the film, including Steve Bannon and Rick Gates, since it’s not a very politically balanced documentary. The simple statement of the film is that Republicans, while not all necessarily racist, have been feeding and exploiting the racism of Americans for the last half-century. It’s not even surprising that the right-leaning participants don’t deny this strategy.

In the era of President Donald Trump, everything is pretty transparent. In fact, it’s said as loud as can be. The dog whistles have given way to trumpets. Meanwhile, White with Fear, which was surprisingly nominated for the Writers Guild of America Award for Best Documentary Screenplay this year, plays like a fire alarm pulled after the building has already burned down. It’s not up to date. Its thesis and arguments are easy and obvious. And disappointingly, the film fails to get that today the real issue is the Americans being led, not the pipers who are leading them.

White with Fear will make its broadcast premiere on PBS on Tuesday, March 24, 2026, and will be available to stream on PBS.org and the PBS app.

With Byrd At The South Pole (1930)

Last week, we began a new series within our Documentary Classics column devoted to Oscar winners. If all goes according to plan, we’ll write about every documentary to win an Oscar in any category before the 100th Academy Awards in 2028. I began with a long look back at the first to do it: With Byrd at the South Pole. Here’s an excerpt from that review, which is only available in full to paid subscribers:

“With Byrd at the South Pole is primarily meant to thrill and amaze the cinema audience. As with the majority of documentary work at the time, this film presents viewers with a world they’d never see without the movies, but it’s still not enough to simply show the exotic. There’s an accessible narrative and tone, an othering of the locals (here, only the flightless birds — I’m shocked there’s not more to that given that Byrd takes historical flight), and heroism to be admired. Unlike other documentary features of the period, not too much is lost in the need to engage and enthrall. The footage offers a record of events while the film editorially plays with its story.”

With Byrd at the South Pole is currently available to stream for free on Kanopy and the JustWatch app, or rented digitally on Vimeo via The Milestone Collection.

Subscribe now

Documentary Release Calendar 3/20/26 – 3/26/26

Friday, March 20, 2026

1000 Women in Horror (2025) – A documentary about women pioneers in the horror genre. (Shudder)

Changing (1971) – A short documentary about a young family coping with changing social values in the 1960s. (TCM)

Film: The Living Record of Our Memory (2021) – A feature-length documentary about the importance of film preservation. (TCM)

Glimpses of Austria (1938) – A short documentary installment of James A. FitzPatrick’s TravelTalks travelogue franchise that explores Austria before its alignment with Nazi Germany. (TCM)

Let’s Sing a Song About the Moonlight (1948) – A short music film starring The Melody Makers. (TCM)

Looking for Robert (2024) – A documentary about filmmaker Robert Kramer. (OVID)

Lumière, Le Cinema! (2024) – A documentary directed by Thierry Frémaux (Lumière!) compiling rare films by the Lumière brothers. *NONFICS PICK* (In Theaters)

Marc by Sofia (2025) – A documentary by Sofia Coppola about fashion designer Marc Jacobs. (In Theaters)

Neighbors Episode 5 – The final installment of a six-part docuseries executive-produced by Josh Safdie and Ronald Bronstein about outrageous conflicts between neighbors. (HBO Max)

The Proof is Out There Season 6, Episode 3: “Amazonian Aliens, White Sands UFO Crash, and Vampire Meat” – The latest installment of a docuseries investigating UFOs, conspiracies, and mythical creatures. (History)

Spacewoman (2024) – A documentary feature about astronaut Eileen Collins, the first woman to pilot and command a Space Shuttle mission. (In Theaters)

The United States Army Band (1943) – A short concert film showcasing the U.S. Army Band accompanied by wartime and peacetime footage. (TCM)

Saturday, March 21, 2026

Buried in the Backyard Season 6, Episode 14: “Buried in the Bog” – The latest installment of a true-crime docuseries about the odd locations where murder victims were found. This episode involves a body that was found in a north Florida swamp. (Oxygen True Crime)

Color Scales (1932) – A short documentary in the “Fisherman’s Paradise” series about tropical fish on display at San Francisco’s Steinhart Aquarium. (TCM)

Hubble 3D (2010) – A medium-length 3D IMAX documentary directed by Toni Myers and narrated by Leonardo DiCaprio that follows the crew of the Space Shuttle Atlantis as they repair the Hubble Space Telescope. Presented as part of AMC’s IMAX Documentary Showcase. *NONFICS PICK* (IMAX Theatrical Event)

Glimpses of Mexico (1943) – A short documentary installment of James A. FitzPatrick’s TravelTalks travelogue franchise that explores Mexico, including the Floating Gardens of Xochimilco. (TCM)

Sydney: ‘Pride of Australia’ (1938) – A short documentary installment of James A. FitzPatrick’s TravelTalks travelogue franchise that explores Sydney, Australia, and its harbor. (TCM)

Vet Detective Season 1, Episode 4: “The Withering Pit Bull” – The latest installment of a docuseries that follows the work of veterinarian Dr. Lauren Adelman. This episode involves a pit bull suffering from rapid muscle loss. (National Geographic)

Sunday, March 22, 2026

Czechoslovakia on Parade (1938) – A short documentary installment of James A. FitzPatrick’s TravelTalks travelogue franchise that explores what was then known as Czechoslovakia. (TCM)

History’s Greatest Picks with Mike Wolfe Season 1, Episode 5: “Out of This World” – The latest installment of a docuseries about legendary treasures, relics, and artifacts from history. (History)

Night Life in Chicago (1948) – A short documentary installment of James A. FitzPatrick’s TravelTalks travelogue franchise that explores Chicago. (TCM)

A Plan to Kill Season 2, Episode 3: “Deadly Desire” – The latest installment of a true-crime docuseries on the meticulous planning conducted by serial killers. (Oxygen)

Standoff: The FBI, Power and Paranoia Episodes 1 & 2 – The first two installments of a docuseries about the relationship between FBI directors and U.S. presidents. (CNN)

The Wonderful World of Tupperware (1965) – A short industrial film about Tupperware. (TCM)

Monday, March 23, 2026

Beyond Awestruck: The Scientific Search for Connection Episode 2: “The Answers Are Out There” – The second installment of a three-part docuseries about a research project studying awe. (Outside TV)

Fatal Attraction: I’d Kill to Be You Season 1, Episode 9: “A Rap Battle Gone Wrong” – The latest installment of a true-crime series about cases involving jealousy. (TV One)

History’s Deadliest with Ving Rhames Season 1, Episode 8: “Engineering Disasters” – The latest installment of a docuseries about history’s most devastating killers, weapons, battles, and disasters. (History)

Keep Quiet and Forgive (2025) – A documentary about sexual abuse in the Amish community. (PBS)

Tuesday, March 24, 2026

Body & Soul: Diana & Kathy (2008) – A short documentary directed by Oscar-nominated filmmaker Alice Elliott (The Collector of Bedford Street) about two women with disabilities who are activists for disabled rights. (OVID)

The Image Revolution (2014) – A documentary about the former Marvel artists who founded Image Comics in the 1990s. (Blu-ray)

The Key of G (2007) – A medium-length documentary about a young man with disabilities who leaves home to live with a group of artists. (OVID)

The Kinderhook Creature: In the Shadow of Sasquatch (2026) – A documentary feature about a mysterious creature in upstate New York. (VOD)

Secrets Declassified with David Duchovny Season 2, Episode 2: “Top Secret Sites” – The return of a docuseries about declassified government activities. This installment focuses on how close we’ve gotten to apocalyptic events. (History)

Swamp Dogg Gets His Pool Painted (2024) – A documentary feature about the titular cult musician. (Blu-ray)

Teddy, Out of Tune (2020) – A documentary about a street musician who makes a trek to Canada to spread his mother’s ashes. (Blu-ray)

Unbroken: The Untold Story of Shen Yun (2026) – A documentary feature about the Chinese dance company Shen Yun Performing Arts. (VOD)

The Voice That Rocked America: The Dick Biondi Story (2023) – A biographical documentary about rock and roll radio disc jockey Dick Biondi. (DVD)

White with Fear (2024) – A documentary about the conservative push to divide races and claim white victimization. (PBS)

Wednesday, March 25, 2026

The Bad Foot Clinic Season 1, Episode 2: “Nailing It” – The second installment of a new docuseries following a podiatrist couple in their work. This episode involves a marathon runner and a drag queen. (TLC)

Beautiful Bavaria (1953) – A short documentary installment of James A. FitzPatrick’s TravelTalks travelogue franchise that explores the southeastern corner of Germany. (TCM)

Feds Season 2, Episode 4: “Inside Job” – The latest installment of a docuseries that follows the FBI on various cases. This episode involves a bank robber with a bomb strapped to himself. (Investigation Discovery)

Homicide New York Season 2 – The return of Dick Wolf’s docuseries about notorious murder cases in New York City. (Netflix)

Hunt for the Missing: Chicago Episode 4: “The Lion’s Den” – The latest installment of a six-part series following a retired police detective as she re-investigates cold cases. (Investigation Discovery)

Tales of the Waria (2011) – A medium-length documentary about transgender Indonesian women. (OVID)

To Catch a Smuggler Season 10, Episode 5: “Dope Rides in the Thundercat” – The latest installment of a docuseries following U.S. Customs and Border Protection agents. This episode involves a drug-smuggling family. (National Geographic)

Wo Ai Ni Mommy (2010) – A documentary feature about Chinese-American adopted girls. (OVID)

Thursday, March 26, 2026

Amalfi Way (1955) – A short documentary travelogue film that explores Italy’s Amalfi Coast. (TCM)

Ancient Structures: Secrets Revealed Season 1, Episodes 5 & 6: “Dealing with the Devil” & “Beyond the Tomb” – The latest installments of a docuseries about ancient landmarks. These episodes involve demonic designs, the Roman Colosseum, and Malbork Castle. (National Geographic)

Glimpses of Florida (1941) – A short documentary installment of James A. FitzPatrick’s TravelTalks travelogue franchise that explores popular destinations in Florida. (TCM)

Predator Hunters Episode 4: “Know the Codes” – The latest installment of a docuseries produced by Louis Theroux following the work of the Internet Crimes Against Children Task Force. This episode involves a predator sharing pornography with a minor. (A&E)

True Crime Story: It Couldn’t Happen Here Season 3, Episode 6: “Gilmer, Texas” – The latest installment of a true-crime series focused on murders in small towns. This episode involves a suspected satanic cult. (Sundance TV)

Share Nonfics

Sneak Peek At What’s Coming Soon

3/27 – The AI Doc: Or How I Became an Apocaloptimist – A documentary feature directed by Oscar-winning filmmaker Daniel Roher (Navalny) and Charlie Tyrell (My Dead Dad’s Porno Tapes) about Roher’s contemplation of the future that his soon-to-be-born child will be growing up in. (In Theaters)

4/3 – The Truth and Tragedy of Moriah Wilson – A true-crime documentary about the murder of pro cyclist Moriah Wilson. (Netflix)

4/4 – Made for March – A four-part docuseries following the Kansas Jayhawks and Michigan Wolverines in the current college basketball season. Watch the new trailer for the series below. (Paramount+)

4/6- The Tallest Dwarf – A documentary by Julie Wyman about her place in the Little People community, presented as the season opener of Independent Lens. (PBS)

4/10 – Steal This Story, Please! – A documentary about Democracy Now! host Amy Goodman. Watch the new trailer for the film below. (In Theaters)

4/10 – Fiume o Morte! – A comedic docudrama about a Croatian city occupied by an Italian poet in 1919. (In Theaters)

4/11 – Kara Swisher Wants to Live Forever – A six-part docuseries starring journalist Kara Swisher about the latest in longevity science. Watch the new trailer for the series below. (CNN)

4/24 – Bernstein’s Wall – A documentary about Leonard Bernstein. (In Theaters)

4/24 – Just Sing – A documentary feature that follows the SoCal VoCals as they compete in the International Championship of Collegiate A Cappella. Watch the new trailer for the film below. (In Theaters)

5/1 – Conbody VS Everybody – A five-part docuseries directed by Debra Granik (Stray Dog) about a formerly incarcerated man who starts a gym that employs others released from prison. (The Criterion Channel)

5/15 – Agatha’s Almanac – A documentary about a 90-year-old woman and her devotion to her farm. (In Theaters)

Welcome to my annual birthday edition of This Week In Documentary. It’s not any different from the other newsletters I put out throughout the year, except that I feel okay making a heavier push (that is, begging) for paid subscriptions in the intro. Actually, for my birthday this year (it’s on Friday, March 20), I’d like you to donate to a documentary funding organization in my name. I don’t know enough about any, and I don’t have the money to do it myself, so I appreciate you figuring it out for me. Then, if you have anything left over, please become a paid Nonfics subscriber.

Also, please subscribe to Anthony Kaufman’s Substack and read his latest piece, “Can a U.S. Documentary Win an Oscar Anymore?” His analysis of why presumed frontrunner The Perfect Neighbor lost to the international favorite, Mr. Nobody Against Putin, doesn’t offer an easy answer to the headline’s question. Also, I wish more takes on the Oscars’ documentary categories put more thought into the shorts (the winner this year was a U.S. film put out by Netflix, contradicting most points about the feature upset). Still, I’m glad someone with real expertise about the nonfiction film arena has this platform for informed discussion.

Without further ado, 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 and most-anticipated lists, and to give me more time to watch more (if not everything) available. If you have a doc in need of coverage or a mention, you can reach me at christopherbartoncampbell (at) gmail.

Nonfics Pick Of The Week: Lumière, Le Cinema! (2024)

Thierry Frémaux, the director of the Cannes Film Festival, the Institut Lumière, and the Lumière Film Festival, is also now the director of his second documentary feature. Nearly a decade after his debut, Lumière!, his follow-up is titled Lumière, Le Cinema! (this is the same film as the one previously known as Lumière, l’aventure continue). It’s another compilation of Lumière films with narration by Frémaux. At the start of the film, he talks of this being an opportunity to see these films projected on the big screen, as was intended with the Lumières’ invention of their cinématographe. I confess that I did not watch it in this manner and would have preferred that chance.

At first, Lumière, Le Cinema! seems to be merely an assembly of Lumière films with commentary from Frémaux, but it’s more of an essay film. Frémaux breaks his documentary up into segments of different focus, including children, military scenes, international locations, and modes of transportation (surprisingly, he has little time for The Arrival of a Train at La Ciotat Station, which he shares is just one of many similar films). He begins with the history lesson of the Lumières, their invention, their first showings, and a good deal of attention given to the famed Leaving the Factory (the most recognizable version of which might not have been the original, apparently). Then it becomes more of a study of the films, their content (including the first “cat videos”!), and the Lumières’ recurring themes.

Among Frémaux’s more noteworthy comments is his opinion that Auguste was the better director of the brothers and should have made more films of his own. I also appreciate Frémaux’s agreement that fiction films are “documentaries of their own making” and so everything included in Lumière, Le Cinema! is nonfiction. The fiction films are also documentaries of how the world and people looked 130 years ago, even if the actions or circumstances at hand are made up. I really love Frémaux’s concluding remarks on cinema’s importance and how it’s about us seeing and understanding ourselves and others. I only wish I understood French, so I didn’t have to read Frémaux’s narration and miss so much of the films as he’s talking about them.

Lumière, Le Cinema! will be released in theaters on Friday, March 20, 2026.

Other Documentary Highlights

Hubble 3D (2010)

This week’s entry in AMC’s IMAX Documentary Showcase is the re-release of Hubble 3D, a 45-minute film directed by Toni Myers and narrated by Leonardo DiCaprio about the STS-125 Space Shuttle mission to service the Hubble Space Telescope in 2009. We recommend seeing this in theaters, as the 2D version available to stream for free on YouTube is just not the same. Here’s a brief excerpt from our recommendation of the film from our list of the best documentaries about space travel:

“Hubble is a one-of-a-kind experience that will both humble you and fill you with a sense of wonder for what a future amongst the stars could hold. Also, there is a zero-gravity taco-making scene! What could be better than that?”

Hubble 3D will screen in IMAX and in 3D at AMC Theatres locations on Saturday, March 21, 2026.

Keep Quiet And Forgive (2025)

I’m never certain whether I’m seeing the full cut of a film when it airs on PBS via Independent Lens, but I believe the version of Keep Quiet and Forgive that I watched was edited down by about eight minutes from its original length. In this case, that’s fine because I do think this documentary could have been a short. The film looks at sexual abuse in Amish communities with a focus on the survivors, most of them now living apart from that religious group. The participants in the documentary deserve to be heard and see the problem exposed, but there’s not much of a narrative structure here beyond the necessary spotlight on their respective stories.

It shouldn’t be surprising that a community based on old-fashioned living would have issues regarding the treatment of women, both physically and socially, but hopefully, this film will get viewers to realize that the obvious is not okay to be dismissed as such. Also, not all of the survivors are women, proving there’s more to it than that.

Keep Quiet and Forgive will make its broadcast premiere on PBS as an episode of Independent Lens on Monday, March 23, 2026.

Marc By Sofia (2025)

Due to its release schedule, I was unable to screen Marc by Sofia in time for its theatrical debut. The documentary doesn’t come to my neck of the woods until later, and screeners were not offered. Still, as it’s a major title from a big-name director (Sofia Coppola, making her documentary debut) and notable distributor (A24), I had to highlight the film sight unseen. It’s about the fashion designer Marc Jacobs, a subject that doesn’t especially appeal to me, but given the film’s logline calls it an “unconventional portrait,” I need to see what that means and if I’d agree with the claim.

Marc by Sofia will be released in theaters in New York City on Friday, March 20, 2026, and will expand to other cities on Friday, March 27, 2026.

White With Fear (2024)

There are no surprises in Andrew Goldberg’s White with Fear, at least not in terms of revelations. It may be surprising that so many conservative individuals agreed to be interviewed for the film, including Steve Bannon and Rick Gates, since it’s not a very politically balanced documentary. The simple statement of the film is that Republicans, while not all necessarily racist, have been feeding and exploiting the racism of Americans for the last half-century. It’s not even surprising that the right-leaning participants don’t deny this strategy.

In the era of President Donald Trump, everything is pretty transparent. In fact, it’s said as loud as can be. The dog whistles have given way to trumpets. Meanwhile, White with Fear, which was surprisingly nominated for the Writers Guild of America Award for Best Documentary Screenplay this year, plays like a fire alarm pulled after the building has already burned down. It’s not up to date. Its thesis and arguments are easy and obvious. And disappointingly, the film fails to get that today the real issue is the Americans being led, not the pipers who are leading them.

White with Fear will make its broadcast premiere on PBS on Tuesday, March 24, 2026, and will be available to stream on PBS.org and the PBS app.

With Byrd At The South Pole (1930)

Last week, we began a new series within our Documentary Classics column devoted to Oscar winners. If all goes according to plan, we’ll write about every documentary to win an Oscar in any category before the 100th Academy Awards in 2028. I began with a long look back at the first to do it: With Byrd at the South Pole. Here’s an excerpt from that review, which is only available in full to paid subscribers:

“With Byrd at the South Pole is primarily meant to thrill and amaze the cinema audience. As with the majority of documentary work at the time, this film presents viewers with a world they’d never see without the movies, but it’s still not enough to simply show the exotic. There’s an accessible narrative and tone, an othering of the locals (here, only the flightless birds — I’m shocked there’s not more to that given that Byrd takes historical flight), and heroism to be admired. Unlike other documentary features of the period, not too much is lost in the need to engage and enthrall. The footage offers a record of events while the film editorially plays with its story.”

With Byrd at the South Pole is currently available to stream for free on Kanopy and the JustWatch app, or rented digitally on Vimeo via The Milestone Collection.

Subscribe now

Documentary Release Calendar 3/20/26 – 3/26/26

Friday, March 20, 2026

1000 Women in Horror (2025) – A documentary about women pioneers in the horror genre. (Shudder)

Changing (1971) – A short documentary about a young family coping with changing social values in the 1960s. (TCM)

Film: The Living Record of Our Memory (2021) – A feature-length documentary about the importance of film preservation. (TCM)

Glimpses of Austria (1938) – A short documentary installment of James A. FitzPatrick’s TravelTalks travelogue franchise that explores Austria before its alignment with Nazi Germany. (TCM)

Let’s Sing a Song About the Moonlight (1948) – A short music film starring The Melody Makers. (TCM)

Looking for Robert (2024) – A documentary about filmmaker Robert Kramer. (OVID)

Lumière, Le Cinema! (2024) – A documentary directed by Thierry Frémaux (Lumière!) compiling rare films by the Lumière brothers. *NONFICS PICK* (In Theaters)

Marc by Sofia (2025) – A documentary by Sofia Coppola about fashion designer Marc Jacobs. (In Theaters)

Neighbors Episode 5 – The final installment of a six-part docuseries executive-produced by Josh Safdie and Ronald Bronstein about outrageous conflicts between neighbors. (HBO Max)

The Proof is Out There Season 6, Episode 3: “Amazonian Aliens, White Sands UFO Crash, and Vampire Meat” – The latest installment of a docuseries investigating UFOs, conspiracies, and mythical creatures. (History)

Spacewoman (2024) – A documentary feature about astronaut Eileen Collins, the first woman to pilot and command a Space Shuttle mission. (In Theaters)

The United States Army Band (1943) – A short concert film showcasing the U.S. Army Band accompanied by wartime and peacetime footage. (TCM)

Saturday, March 21, 2026

Buried in the Backyard Season 6, Episode 14: “Buried in the Bog” – The latest installment of a true-crime docuseries about the odd locations where murder victims were found. This episode involves a body that was found in a north Florida swamp. (Oxygen True Crime)

Color Scales (1932) – A short documentary in the “Fisherman’s Paradise” series about tropical fish on display at San Francisco’s Steinhart Aquarium. (TCM)

Hubble 3D (2010) – A medium-length 3D IMAX documentary directed by Toni Myers and narrated by Leonardo DiCaprio that follows the crew of the Space Shuttle Atlantis as they repair the Hubble Space Telescope. Presented as part of AMC’s IMAX Documentary Showcase. *NONFICS PICK* (IMAX Theatrical Event)

Glimpses of Mexico (1943) – A short documentary installment of James A. FitzPatrick’s TravelTalks travelogue franchise that explores Mexico, including the Floating Gardens of Xochimilco. (TCM)

Sydney: ‘Pride of Australia’ (1938) – A short documentary installment of James A. FitzPatrick’s TravelTalks travelogue franchise that explores Sydney, Australia, and its harbor. (TCM)

Vet Detective Season 1, Episode 4: “The Withering Pit Bull” – The latest installment of a docuseries that follows the work of veterinarian Dr. Lauren Adelman. This episode involves a pit bull suffering from rapid muscle loss. (National Geographic)

Sunday, March 22, 2026

Czechoslovakia on Parade (1938) – A short documentary installment of James A. FitzPatrick’s TravelTalks travelogue franchise that explores what was then known as Czechoslovakia. (TCM)

History’s Greatest Picks with Mike Wolfe Season 1, Episode 5: “Out of This World” – The latest installment of a docuseries about legendary treasures, relics, and artifacts from history. (History)

Night Life in Chicago (1948) – A short documentary installment of James A. FitzPatrick’s TravelTalks travelogue franchise that explores Chicago. (TCM)

A Plan to Kill Season 2, Episode 3: “Deadly Desire” – The latest installment of a true-crime docuseries on the meticulous planning conducted by serial killers. (Oxygen)

Standoff: The FBI, Power and Paranoia Episodes 1 & 2 – The first two installments of a docuseries about the relationship between FBI directors and U.S. presidents. (CNN)

The Wonderful World of Tupperware (1965) – A short industrial film about Tupperware. (TCM)

Monday, March 23, 2026

Beyond Awestruck: The Scientific Search for Connection Episode 2: “The Answers Are Out There” – The second installment of a three-part docuseries about a research project studying awe. (Outside TV)

Fatal Attraction: I’d Kill to Be You Season 1, Episode 9: “A Rap Battle Gone Wrong” – The latest installment of a true-crime series about cases involving jealousy. (TV One)

History’s Deadliest with Ving Rhames Season 1, Episode 8: “Engineering Disasters” – The latest installment of a docuseries about history’s most devastating killers, weapons, battles, and disasters. (History)

Keep Quiet and Forgive (2025) – A documentary about sexual abuse in the Amish community. (PBS)

Tuesday, March 24, 2026

Body & Soul: Diana & Kathy (2008) – A short documentary directed by Oscar-nominated filmmaker Alice Elliott (The Collector of Bedford Street) about two women with disabilities who are activists for disabled rights. (OVID)

The Image Revolution (2014) – A documentary about the former Marvel artists who founded Image Comics in the 1990s. (Blu-ray)

The Key of G (2007) – A medium-length documentary about a young man with disabilities who leaves home to live with a group of artists. (OVID)

The Kinderhook Creature: In the Shadow of Sasquatch (2026) – A documentary feature about a mysterious creature in upstate New York. (VOD)

Secrets Declassified with David Duchovny Season 2, Episode 2: “Top Secret Sites” – The return of a docuseries about declassified government activities. This installment focuses on how close we’ve gotten to apocalyptic events. (History)

Swamp Dogg Gets His Pool Painted (2024) – A documentary feature about the titular cult musician. (Blu-ray)

Teddy, Out of Tune (2020) – A documentary about a street musician who makes a trek to Canada to spread his mother’s ashes. (Blu-ray)

Unbroken: The Untold Story of Shen Yun (2026) – A documentary feature about the Chinese dance company Shen Yun Performing Arts. (VOD)

The Voice That Rocked America: The Dick Biondi Story (2023) – A biographical documentary about rock and roll radio disc jockey Dick Biondi. (DVD)

White with Fear (2024) – A documentary about the conservative push to divide races and claim white victimization. (PBS)

Wednesday, March 25, 2026

The Bad Foot Clinic Season 1, Episode 2: “Nailing It” – The second installment of a new docuseries following a podiatrist couple in their work. This episode involves a marathon runner and a drag queen. (TLC)

Beautiful Bavaria (1953) – A short documentary installment of James A. FitzPatrick’s TravelTalks travelogue franchise that explores the southeastern corner of Germany. (TCM)

Feds Season 2, Episode 4: “Inside Job” – The latest installment of a docuseries that follows the FBI on various cases. This episode involves a bank robber with a bomb strapped to himself. (Investigation Discovery)

Homicide New York Season 2 – The return of Dick Wolf’s docuseries about notorious murder cases in New York City. (Netflix)

Hunt for the Missing: Chicago Episode 4: “The Lion’s Den” – The latest installment of a six-part series following a retired police detective as she re-investigates cold cases. (Investigation Discovery)

Tales of the Waria (2011) – A medium-length documentary about transgender Indonesian women. (OVID)

To Catch a Smuggler Season 10, Episode 5: “Dope Rides in the Thundercat” – The latest installment of a docuseries following U.S. Customs and Border Protection agents. This episode involves a drug-smuggling family. (National Geographic)

Wo Ai Ni Mommy (2010) – A documentary feature about Chinese-American adopted girls. (OVID)

Thursday, March 26, 2026

Amalfi Way (1955) – A short documentary travelogue film that explores Italy’s Amalfi Coast. (TCM)

Ancient Structures: Secrets Revealed Season 1, Episodes 5 & 6: “Dealing with the Devil” & “Beyond the Tomb” – The latest installments of a docuseries about ancient landmarks. These episodes involve demonic designs, the Roman Colosseum, and Malbork Castle. (National Geographic)

Glimpses of Florida (1941) – A short documentary installment of James A. FitzPatrick’s TravelTalks travelogue franchise that explores popular destinations in Florida. (TCM)

Predator Hunters Episode 4: “Know the Codes” – The latest installment of a docuseries produced by Louis Theroux following the work of the Internet Crimes Against Children Task Force. This episode involves a predator sharing pornography with a minor. (A&E)

True Crime Story: It Couldn’t Happen Here Season 3, Episode 6: “Gilmer, Texas” – The latest installment of a true-crime series focused on murders in small towns. This episode involves a suspected satanic cult. (Sundance TV)

Share Nonfics

Sneak Peek At What’s Coming Soon

3/27 – The AI Doc: Or How I Became an Apocaloptimist – A documentary feature directed by Oscar-winning filmmaker Daniel Roher (Navalny) and Charlie Tyrell (My Dead Dad’s Porno Tapes) about Roher’s contemplation of the future that his soon-to-be-born child will be growing up in. (In Theaters)

4/3 – The Truth and Tragedy of Moriah Wilson – A true-crime documentary about the murder of pro cyclist Moriah Wilson. (Netflix)

4/4 – Made for March – A four-part docuseries following the Kansas Jayhawks and Michigan Wolverines in the current college basketball season. Watch the new trailer for the series below. (Paramount+)

4/6- The Tallest Dwarf – A documentary by Julie Wyman about her place in the Little People community, presented as the season opener of Independent Lens. (PBS)

4/10 – Steal This Story, Please! – A documentary about Democracy Now! host Amy Goodman. Watch the new trailer for the film below. (In Theaters)

4/10 – Fiume o Morte! – A comedic docudrama about a Croatian city occupied by an Italian poet in 1919. (In Theaters)

4/11 – Kara Swisher Wants to Live Forever – A six-part docuseries starring journalist Kara Swisher about the latest in longevity science. Watch the new trailer for the series below. (CNN)

4/24 – Bernstein’s Wall – A documentary about Leonard Bernstein. (In Theaters)

4/24 – Just Sing – A documentary feature that follows the SoCal VoCals as they compete in the International Championship of Collegiate A Cappella. Watch the new trailer for the film below. (In Theaters)

5/1 – Conbody VS Everybody – A five-part docuseries directed by Debra Granik (Stray Dog) about a formerly incarcerated man who starts a gym that employs others released from prison. (The Criterion Channel)

5/15 – Agatha’s Almanac – A documentary about a 90-year-old woman and her devotion to her farm. (In Theaters)

IndieWire has a frank discussion with the director of “The AI Doc: Or How I Became an Apocaloptimist” about artificial intelligence’s role within film and entertainment.

SXSW: Daniel Lombroso’s certainly bizarre but sensitive portrait follows a PhalloFill entrepreneur (it’s what it sounds like) and two of his clients as they walk us through a cosmetic phenomenon whose main clientele are insecure men.

Over the past few years, technological advancements have progressed at an accelerated rate, with computer systems, tools, and software experiencing continuous exponential improvements over the course of mere months. Generative AI –inclusive of visual content– has been at the center of this near-frantic pursuit of innovation.

Following the latest releases of numerous and powerful AI video generation models, it’s now easier than ever to fabricate and distribute content that, at first glance, is indistinguishable from real life. The mistakes, inconsistencies, and near-abstract hallucinations that define AI-generated visuals are nowhere near as prevalent or egregious as they were less than a year ago. The telltale signifiers separating AI from real life are less obvious, and can often be nondescript or tucked away in the most obscure corners of an image. With these imperfections becoming harder to spot, how does one discern fact from fiction when it comes to the media they consume?

This is where Sony enters the picture. By embedding authenticity directly into the hardware, cameras like the PXW-Z300 empowers creators to bridge the gap between capture and credibility. It provides the built-in proof of authenticity needed to transform passive viewers into a trusting audience.

The Z300’s three 1/2-type 4K Exmor R® CMOS image sensors deliver the “Sony Look” that can’t be manufactured and that audiences associate with high-end journalism and documentary filmmaking. Additionally, the Z300 prioritizes HDR and accurate color science to capture the world as it actually looks.

One of the reasons that this topic is so important to Sony is because it’s easier than ever for AI to generate lifelike video. Consequently, misinformation, defamation, and propaganda are now easier than ever to distribute. Take, for example, on a more mundane level, casually browsing the internet, I was recently fooled by a video of an alligator stubbornly throwing itself at a cardboard cutout of a deer. While amusing at first glance, many could discern its authenticity because the alligator’s behavior was strange and atypical, and they could pick up on some unusual digital noise coming from the trees. It’s something that I also had a hard time noticing.

All of which underscores why audiences value authentic, human-made content more than ever. As AI blurs the line between simulation and reality, professionals will need to utilize tools that ensure they aren’t creating content that feels fake. By utilizing cameras like the PXW-Z300, creators can verify their own source material at the point of origin. Ultimately, the burden of integrity rests on creator’s willingness to self-check and self-censor to ensure the content they’re putting together is as human as it claims to be, which means they need to use tools that are up to the task.

The PXW-Z300 is a masterclass in broadcast engineering, blending raw power with intelligent precision. At its core, a trio of 1/2-type back-illuminated 4K Exmor R CMOS sensors works in tandem with an advanced AI processing unit to deliver stunning 4K 60p imagery and flawless subject tracking. Designed for the high-stakes unpredictability of live news, its ergonomic build is matched by a robust suite of connectivity—including Genlock, TC In/Out, and 12G-SDI. This isn’t just a premium investment; it’s a versatile foundation that adapts to any production’s ‘exact specifications,’ ensuring that no matter the environment, your output remains uncompromised. Additionally, the PXW-Z300 can automatically adjust composition to keep human subjects in the center of the frame.

However, what makes the Z300 XDCAM® handheld a truly forward-thinking camcorder is Sony’s implementation of their Camera Authenticity Solution, the company’s answer to combating AI-enabled misinformation in the broadcast and video-making space. It is the world’s first¹ camcorder capable of video authenticity.

The Camera Authenticity Solution, which requires a license that is sold separately,  ensures the credibility and authenticity of video². Authenticity is baked into the video. Through advanced metadata signing, the PXW-Z300 proves the content was captured on-site and in real time. It doesn’t just see a face, it recognizes the presence of a human subject, allowing it to instantly flag the difference between a live person and a fraudulent reproduction.

The verification and efforts at transparency continue down the production pipeline, with even the editing history on display through the use of software compliant with C2PA (Coalition for Content Provenance and Authenticity), an open technical standard that allows producers of the end product to ensure that the source material originated from a real camera. Sony is also currently evaluating a Camera Verify report system, which lets news publications provide, essentially, a certificate of authenticity, ensuring that all images used have been captured on actual Sony hardware.

The importance of the Camera Authenticity Solution is not just the tech itself or its implementation within the Z300 specifically: it’s the awareness and readiness Sony demonstrates towards facing the future.

Sony understands and acknowledges how AI-generated images, especially when used maliciously, can have overarching consequences on society as a whole, not just the media and journalism world. Equipped with these safeguards, Sony has taken charge, contributing to the development of new industry standards, to ensure the integrity of the media we consume remains intact. In a world where people are near-conditioned to dismiss anything on the internet as fake or slop, it’s become more important to assure everyone that, yes, authenticity exists, and will always continue to exist.

Martin Lindsay, Sr. Product Manager & Business Manager at Sony Electronics, puts it best.

“Deepfake AI content is on the rise and has the potential to spread misinformation and disinformation,” Lindsay said. “It’s something content creators across the board have been thinking about, not just broadcasters. And viewers are seeking transparency and expect to be informed if the video they’re watching was created by AI. People are going to want authentic video, and creators should have the tools to prove their content is authentic to their audiences and communities.”

[1] Based on Sony’s research, this is the first camcorder to support the C2PA standard for video content as of July 2025.

[2] Recording authenticity information in video content requires a separate upgrade license. This license is available in limited regions and is compatible with the MP4 video format.

Beyond the frame: films by Anocha Suwichakornpong, Ross McElwee, and Bani Khoshnoudi open lines of flight into the shared social and historical world to which they—and we—belong

The film Lt. Dan Band: For the Common Good is focused only partially on Oscar-nominated actor Gary Sinise and the rock group he plays bass in. The act is called the Lt. Dan Band, named after Sinise’s character in Forrest Gump, and their gigs consist of U.S.O. events around the world and other concerts for troops, trainees, vets, and family members.

Directed by Jonathan Flora, the documentary is also a celebration of and memorial for all the heroes who’ve done their part for this country and what Abraham Lincoln referred to as “the common good,” including those in the U.S. military, those in the Fire Department of New York and others who responded on 9/11 and those citizens like Sinise and his band mates, who significantly contribute in their own way.

This week, I joined a few other journalists to talk with Sinise about the documentary and his humbled involvement in a feature film that could have very easily been too concentrated on the humanity and generosity of a celebrity over addressing the cause itself. First, though, I needed to let him know about my viewing experience (I recommend everyone watch with a veteran or active-duty soldier or fireman):

I wanted to say that I had the opportunity to watch the film with my (step) father-in-law, who’s a Navy SEAL Captain, and he absolutely loved it. He thanks you for it.

Gary Sinise: That’s terrific. I’m glad to hear it. Thank him for me again. Give him a big thank you from me.

I wanted to talk about you allowing the documentary to be made. You seem very humble about all the good that you’re doing, such as with the OIC [Operation International Children] and with the band. I wondered if there was any hesitation for you or a concern that they were going to make a film that was just about how great you are. I think in the end, it does an amazing job of using you as a gateway to talk about the issues.

Gary Sinise: Well, I was hesitant about letting a camera crew shoot this stuff that I’m doing because — well, I just never thought about that. It wasn’t a reason that I do it. I’ve been doing it for years and years without any documentation of it except for the occasional news clip or something like that here and there, or a news story.

So, I was a little bit hesitant about that, but Jonathan made a convincing case. I decided that he was going to do a fair job with it, and I was going to let him see who I interact with on a daily basis in this work and the types of things that I do out there and the types of people that I meet and the organizations that I support and the men and women in uniform that I’m trying to help.

And that all these other organizations are trying to help. And the first responders that I interact with in New York City and around the country who inspire me and were very, very motivating because of their devotion to their lost brothers on September 11th. Wanting to help them and support them and learning from them has made me a better man. I was grateful that Jonathan found a way to do the film that supports a lot of different types of things.

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The film Lt. Dan Band: For the Common Good is focused only partially on Oscar-nominated actor Gary Sinise and the rock group he plays bass in. The act is called the Lt. Dan Band, named after Sinise’s character in Forrest Gump, and their gigs consist of U.S.O. events around the world and other concerts for troops, trainees, vets, and family members.

Directed by Jonathan Flora, the documentary is also a celebration of and memorial for all the heroes who’ve done their part for this country and what Abraham Lincoln referred to as “the common good,” including those in the U.S. military, those in the Fire Department of New York and others who responded on 9/11 and those citizens like Sinise and his band mates, who significantly contribute in their own way.

This week, I joined a few other journalists to talk with Sinise about the documentary and his humbled involvement in a feature film that could have very easily been too concentrated on the humanity and generosity of a celebrity over addressing the cause itself. First, though, I needed to let him know about my viewing experience (I recommend everyone watch with a veteran or active-duty soldier or fireman):

I wanted to say that I had the opportunity to watch the film with my (step) father-in-law, who’s a Navy SEAL Captain, and he absolutely loved it. He thanks you for it.

Gary Sinise: That’s terrific. I’m glad to hear it. Thank him for me again. Give him a big thank you from me.

I wanted to talk about you allowing the documentary to be made. You seem very humble about all the good that you’re doing, such as with the OIC [Operation International Children] and with the band. I wondered if there was any hesitation for you or a concern that they were going to make a film that was just about how great you are. I think in the end, it does an amazing job of using you as a gateway to talk about the issues.

Gary Sinise: Well, I was hesitant about letting a camera crew shoot this stuff that I’m doing because — well, I just never thought about that. It wasn’t a reason that I do it. I’ve been doing it for years and years without any documentation of it except for the occasional news clip or something like that here and there, or a news story.

So, I was a little bit hesitant about that, but Jonathan made a convincing case. I decided that he was going to do a fair job with it, and I was going to let him see who I interact with on a daily basis in this work and the types of things that I do out there and the types of people that I meet and the organizations that I support and the men and women in uniform that I’m trying to help.

And that all these other organizations are trying to help. And the first responders that I interact with in New York City and around the country who inspire me and were very, very motivating because of their devotion to their lost brothers on September 11th. Wanting to help them and support them and learning from them has made me a better man. I was grateful that Jonathan found a way to do the film that supports a lot of different types of things.

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It’s always a treat when great documentary filmmakers are as prolific as Don Argott and Demian Fenton. Since their first feature, 2005’s Rock School, they’ve churned out another four films in only six years. Their highly engaging art world documentary, The Art of the Steal, was one of my top 10 documentaries of 2010. And their surprisingly uplifting crack-addicted rocker film, Last Days Here, was listed among my picks for best docs to look for in 2012. And they’ve already unveiled their next film, the nuclear power expose The Atomic States of America.

I’m excitedly anticipating that new doc, which is currently on the festival circuit, but for now I’m primarily excited that Last Days Here is finally hitting theaters this Friday (I saw it literally a year ago this week). The film is about the fall and rise of little-known heavy metal legend Bobby Liebling, singer for the influential yet forgotten band Pentagram, and it’s the rare film of its kind that captivated and moved me.

This week, I talked with Argott and Fenton about this transcending “rock doc,” the problems and benefits of nonfiction films being lumped into classifications and compared to narrative works, and how they’ve been so successful with such varied and obscure subject matter. Here is our conversation:

How did you guys find this subject and project?

Demian Fenton: Don and I are both huge rock fans, heavy metal fans, and totally been digging into ‘70s rock. And when you start to dig into more of that second-tier ‘70s rock, you run into Pentagram. I heard Pentagram, thought they were awesome, and when you do a little more digging, you hear about the legendary Bobby Liebling. And you hear all these stories about how he’s maybe going to have his arms amputated because he was doing heroin so much. Or you hear that he died on stage at one point and was revived.

So I’d always heard about this guy, and I had a couple beers one night at a metal show outside of Philadelphia and met Pellet, which is Sean Pelletier, the guy in the film. We got into talking about what it would be like. He was in contact with Bobby, had been helping him for a little while with his career, and trying to get the music out. We just started chatting about making a movie. We were just eager to make it on our own terms, and we just started shooting a little bit.

I like that it’s as much a film about Sean as it is about Bobby. Was it always your intent to have these two levels to the documentary?

Don Argott: Early on, when we started shooting with Bobby, the first seven, eight, or nine tapes maybe were just Bobby and his parents, who we interviewed. Pellet was involved as someone on the other side of the camera, a guy who had this idea, and we were working with him, and he was helping us out a little bit. It wasn’t until things started to come together that we realized how much Pellet was deeply entrenched in this story and that it also needed to be about him.

We had done some sit-down interviews with Pellet. He was filling in some of the blanks as far as Bobby’s history and some of the things he was involved with. Pellet was instrumental in getting Bobby’s music rereleased. But at that point, we didn’t envision Pellet as a big character in the film. So that was a big turning point in the filmmaking process for us, when we realized that Pellet was really the guy pulling the strings and trying to make things happen. His story was just as vital.

Demian Fenton: Like you say, it operates on two levels. Pellet, early on in the film, talks about Bobby being almost dead already, saying we need to get one more record in the history books. You start to realize there are two sets of goals in this film. Pellet has these goals that are music-related, and Bobby has these goals that really, whether the music is there or not, to just live a life. He had been so beat up for so long. Most of the film follows those two trajectories until they come together around the hour mark, where they both need to realize what it is one another needs and how music plays or doesn’t play a part in that role.

That’s why, for us, this was way less of a rock doc and something more like Searching for Bobby Fischer, something with universal elements. So many people on the festival circuit have checked into this movie from various places, from 60-year-olds who don’t listen to heavy metal at all to people who totally love Pentagram.

It definitely transcended the rock doc genre for me, as someone who isn’t always a fan of all these films about aging rock stars who are now mentally unstable or washed up or whatever. A lot of them are all the same. There’s also now a popular doc that just premiered at Sundance titled Searching for Sugar Man, which I haven’t seen but wonder how it will compare.

Don Argott: Yeah. We didn’t see that at Sundance this year, but I heard about it, and as soon as I read the description, I said, “That sounds vaguely like the film we made.” You know, there are a lot of these types of films out there, and there will be more for sure. These old rockers who are obscure, there’s always someone who’s intrigued by their story and wants to make a film about them.

I feel like we went into this always with the idea that we were not going to make a rock doc. We weren’t interested in making a Pentagram historical documentary. Someone can do it, and I’m sure they’ll do a great job, but that wasn’t the film we were interested in making. It took us a very long time to understand the type of film that this was going to be, but it paid off in our waiting for the story to unfold the way it did. We knew we had something that was very different than the “rock docs” that are out there.

It is tough on the marketing of this film. I haven’t read one review that doesn’t mention Anvil!, which is fine. That’s what people do. They want to lump it into a category. And I like the Anvil film a lot. But I think this is totally different on just about every level. It’s a shame that things have to be put into these boxes and categorized in a certain way. That’s just the nature of how it goes. But to me, this has always been more about relationships and life and bigger existential things than it has ever been about a typical rock doc of a guy trying to get his life back together.

Demian Fenton: I think with all of our films, from day one when we sit down with them, whether it’s The Art of the Steal or The Atomic States of America, which is about nuclear power, or a film like this, you want to boil it down and get to the root of the universal elements that everyone can check into. There’s the commonality where people across the board who don’t feel like, “I’m going to jump into this movie about an old rocker,” I guarantee you, when they come out of this film, there’s something they can relate to in it.

In addition to the Anvil! comparison, people like to relate your films to fiction stuff. Rock School was called a documentary version of School of Rock, and The Art of the Steal is like a nonfiction heist film. So when you’re putting your films together, do you think at all about narrative or fiction film structure? And do you ever look to other kinds of movies as guidance for how you want to lay out your story?

Don Argott: When we structure our films, they have a three-act structure to them. Within that structure, there are plot points at 30 minutes and 60 minutes, and at the hour mark is a turning point. A lot of filmmakers do that, whether with fiction or nonfiction. In terms of stories, we’ll always watch movies while we’re making a movie just for inspiration or ideas. Dem has already pointed out that the closest thing — certainly we talked about it — was Searching for Bobby Fischer. It’s got that vibe.

Pellet is really the guy who’s trying to pull all this stuff together. And Bobby is, at the point that we find him in the film, not doing a whole lot. So you need someone, as a device, to be doing something. It wasn’t until later on that Bobby, because of Pellet and other forces in his life, started doing stuff. That’s when we realized how valuable Pellet was going to be as a character in helping to keep the journey moving.

Demian Fenton: Yeah, it’s just storytelling. I love that sometimes we’ll sit down and watch fiction films when thinking about how to structure our docs.

I don’t think it’s a spoiler to reveal that Bobby is still alive. But I don’t want to spoil exactly how the film ends, though I want to ask how surprised you guys were with the direction the story ended up going in. You must have initially been thinking that you’d be filming his actual last days.

Demian Fenton: We didn’t want to do that. After the first shoot, we didn’t want to come back and document this guy destroying himself. And we often say it, we would never ever have dreamed of where he ended up. If this were written in a script, it would be sent back for revisions because it’s just too wacky.

Don Argott: No one would believe it.

Demian Fenton: It’s so unbelievable. There are many times when we felt this film was going to end up nowhere. There was never a time when we thought it would end up where it did.

And you must have had other concerns while filming Bobby at his worst. Did you guys have any ethical dilemmas or fears?

Demian Fenton: It wasn’t something we had a lot of debate about. We’re first and foremost pretty ethical when it comes to things, and we’re also very honest when it comes to making films. Clearly, whether it’s a fiction or nonfiction film, there’s always going to be the thing about how much is too much. And that line is subjective depending on who you talk to. I’m sure there are people out there who say, “Oh, you didn’t show enough drug use.” We were certainly conscious of it. But that’s Bobby’s world, and it’s very important for us to not go into it with any judgments placed on it. We’re not going to say, “Hey, maybe you shouldn’t do that on camera.”

When you’re making a documentary, and you’re getting to know characters and getting them to trust you, that’s a long process. For Bobby, he just dove right in. That first day we shot with him, it was warts and all. He was smoking crack and knew there was a camera there. It was one of those situations where you have somebody willing to be that honest and show how vulnerable he is early on. That’s an honorable thing and a pretty exciting thing for documentarians, because sometimes you never get that kind of trust. Sometimes it takes days or weeks or months to gain that level of trust. For Bobby, it was there right off the bat.

Do you know if he has any regrets now about how he let himself be portrayed on camera?

Demian Fenton: I don’t think he’s regretful of how he was portrayed. I think he has regrets about how he’s lived his life. So when he sees the film, that’s tough stuff for him to watch. As it would be for anyone with a little bit of perspective. As a document of a period of time in his life, if we had walked in there and not documented him using drugs, that would not have told the true story of what was happening in his life at the time. So it’s not a portrayal thing. I’m so proud of him for where he ended up. I remember times when we sat in the edit room, and we would hit the first frame we captured, where you see him first in the film, and then jump to the last frame, and you just can’t believe it. I’m so proud of him for that, and I’m glad the journey is captured.

Tell me about your new film, The Atomic States of America, which has already debuted, just as Last Days Here is about to be released.

Don Argott: It just premiered at Sundance 2012, and it’s a film based on this memoir by Kelly McMasters called Welcome to Shirley: A Memoir from an Atomic Town. The book is about Kelly growing up in this small town in Long Island and realizing she lived in the shadow of three working nuclear reactors that had leaked into the groundwater, and there are all these unexplained cancer clusters in the area. Rare cancers and things. We read the book and were really moved by it, and at the time when we were shooting it in 2010, nobody was really talking much about nuclear power or the issue in general. So we decided to extend from her small town to reactor communities around the country, and we found a lot of similarities and a lot of amazing characters that were all battling the same thing, asking questions and not getting sufficient answers.

We were working on the film for a year, and then Fukushima happened in the middle of it. And that changed the entire film for us because that event changed everything in terms of how people thought of nuclear power, what it meant to live in a reactor community here. The film is really a great document of the debate before Fukushima and post-Fukushima. I’m really proud of the film and anxious to get it out there. Now is a good time to be having this debate about nuclear energy, especially when it’s being touted as a clean and green alternative to fossil fuels.

That reminds me that I wanted to talk about how all your films are about such different subjects and stories, aside from the two involving music, of course. So what is it that draws you to a project?

Don Argott: That’s probably really good in one way and probably really bad from a marketing standpoint, that we don’t make the same kind of film. But for us, it keeps things fresh and interesting, and we get to move in really interesting circles and learn about things and dive into things that we wouldn’t normally have the opportunity to. Music stuff is definitely our comfort zone. With Rock School and Last Days Here, they definitely play into things we’re really passionate about. But just being able to tell really great stories is equally important. With the Barnes [The Art of the Steal], we got into the art world, with Atomic States, we got into nuclear power, and with our second film, which not a lot of people know, called Two Days in April, we got involved with the NFL draft. We have range, I guess.

Is it a conscious choice for you guys to look into subjects or topics that people aren’t really thinking about, such as how you mentioned nobody was talking about nuclear power when you started The Atomic States of America?

Don Argott: As storytellers, there’s always that challenge of finding a story that hasn’t really been told before, finding this hidden story in a part of the world nobody’s really paying attention to. That’s definitely something that intrigues us, especially in the business that we work in. There tends to be a lot of documentaries about a certain subject, i.e., the War in Iraq or Afghanistan. There are 40 or 50 titles. If you’re going to do another one of those, you’re going to have to find another great story that hasn’t been told before. So the stories that really intrigue us are the ones that are a little bit hidden and that we can put our personal touch on and our creative spin on it and get it out into the world. That’s exciting.

Demian Fenton: You’re also talking to the folks who made Rock School. It was our first film that came out, and we started way before [School of Rock] started, and then halfway or three-quarters of the way through with production, we hear about this fiction film that’s coming out. So we might be a little more sensitive to that. Even though, no matter what, we seem to get pigeonholed.

Don Argott: “If you like Anvil! you’ll love Last Days Here!” “If you saw China Syndrome, you’ll love Atomic States of America!” But what are you going to do? I totally understand why people make the comparisons, but it does get a little tiresome when you’re constantly compared to something that’s not necessarily a great comparison.

Given your productivity over the past few years, I assume you’re already working on another documentary. What’s next for you guys?

Don Argott: We’re going back to music a little bit. We’re working with this heavy metal band called Lamb of God. They’re embarking on a world tour that we’re documenting. The film is less about the band and more about their fans around the world. Places including more troubled spots like Israel, India, and Mexico. We’re in the early stages of shooting, but we’re really excited about it. We’re just happy to keep working, frankly.

This interview was originally published on the Documentary Channel’s Doc Blog (via Tumblr) on February 29, 2012.

It’s always a treat when great documentary filmmakers are as prolific as Don Argott and Demian Fenton. Since their first feature, 2005’s Rock School, they’ve churned out another four films in only six years. Their highly engaging art world documentary, The Art of the Steal, was one of my top 10 documentaries of 2010. And their surprisingly uplifting crack-addicted rocker film, Last Days Here, was listed among my picks for best docs to look for in 2012. And they’ve already unveiled their next film, the nuclear power expose The Atomic States of America.

I’m excitedly anticipating that new doc, which is currently on the festival circuit, but for now I’m primarily excited that Last Days Here is finally hitting theaters this Friday (I saw it literally a year ago this week). The film is about the fall and rise of little-known heavy metal legend Bobby Liebling, singer for the influential yet forgotten band Pentagram, and it’s the rare film of its kind that captivated and moved me.

This week, I talked with Argott and Fenton about this transcending “rock doc,” the problems and benefits of nonfiction films being lumped into classifications and compared to narrative works, and how they’ve been so successful with such varied and obscure subject matter. Here is our conversation:

How did you guys find this subject and project?

Demian Fenton: Don and I are both huge rock fans, heavy metal fans, and totally been digging into ‘70s rock. And when you start to dig into more of that second-tier ‘70s rock, you run into Pentagram. I heard Pentagram, thought they were awesome, and when you do a little more digging, you hear about the legendary Bobby Liebling. And you hear all these stories about how he’s maybe going to have his arms amputated because he was doing heroin so much. Or you hear that he died on stage at one point and was revived.

So I’d always heard about this guy, and I had a couple beers one night at a metal show outside of Philadelphia and met Pellet, which is Sean Pelletier, the guy in the film. We got into talking about what it would be like. He was in contact with Bobby, had been helping him for a little while with his career, and trying to get the music out. We just started chatting about making a movie. We were just eager to make it on our own terms, and we just started shooting a little bit.

I like that it’s as much a film about Sean as it is about Bobby. Was it always your intent to have these two levels to the documentary?

Don Argott: Early on, when we started shooting with Bobby, the first seven, eight, or nine tapes maybe were just Bobby and his parents, who we interviewed. Pellet was involved as someone on the other side of the camera, a guy who had this idea, and we were working with him, and he was helping us out a little bit. It wasn’t until things started to come together that we realized how much Pellet was deeply entrenched in this story and that it also needed to be about him.

We had done some sit-down interviews with Pellet. He was filling in some of the blanks as far as Bobby’s history and some of the things he was involved with. Pellet was instrumental in getting Bobby’s music rereleased. But at that point, we didn’t envision Pellet as a big character in the film. So that was a big turning point in the filmmaking process for us, when we realized that Pellet was really the guy pulling the strings and trying to make things happen. His story was just as vital.

Demian Fenton: Like you say, it operates on two levels. Pellet, early on in the film, talks about Bobby being almost dead already, saying we need to get one more record in the history books. You start to realize there are two sets of goals in this film. Pellet has these goals that are music-related, and Bobby has these goals that really, whether the music is there or not, to just live a life. He had been so beat up for so long. Most of the film follows those two trajectories until they come together around the hour mark, where they both need to realize what it is one another needs and how music plays or doesn’t play a part in that role.

That’s why, for us, this was way less of a rock doc and something more like Searching for Bobby Fischer, something with universal elements. So many people on the festival circuit have checked into this movie from various places, from 60-year-olds who don’t listen to heavy metal at all to people who totally love Pentagram.

It definitely transcended the rock doc genre for me, as someone who isn’t always a fan of all these films about aging rock stars who are now mentally unstable or washed up or whatever. A lot of them are all the same. There’s also now a popular doc that just premiered at Sundance titled Searching for Sugar Man, which I haven’t seen but wonder how it will compare.

Don Argott: Yeah. We didn’t see that at Sundance this year, but I heard about it, and as soon as I read the description, I said, “That sounds vaguely like the film we made.” You know, there are a lot of these types of films out there, and there will be more for sure. These old rockers who are obscure, there’s always someone who’s intrigued by their story and wants to make a film about them.

I feel like we went into this always with the idea that we were not going to make a rock doc. We weren’t interested in making a Pentagram historical documentary. Someone can do it, and I’m sure they’ll do a great job, but that wasn’t the film we were interested in making. It took us a very long time to understand the type of film that this was going to be, but it paid off in our waiting for the story to unfold the way it did. We knew we had something that was very different than the “rock docs” that are out there.

It is tough on the marketing of this film. I haven’t read one review that doesn’t mention Anvil!, which is fine. That’s what people do. They want to lump it into a category. And I like the Anvil film a lot. But I think this is totally different on just about every level. It’s a shame that things have to be put into these boxes and categorized in a certain way. That’s just the nature of how it goes. But to me, this has always been more about relationships and life and bigger existential things than it has ever been about a typical rock doc of a guy trying to get his life back together.

Demian Fenton: I think with all of our films, from day one when we sit down with them, whether it’s The Art of the Steal or The Atomic States of America, which is about nuclear power, or a film like this, you want to boil it down and get to the root of the universal elements that everyone can check into. There’s the commonality where people across the board who don’t feel like, “I’m going to jump into this movie about an old rocker,” I guarantee you, when they come out of this film, there’s something they can relate to in it.

In addition to the Anvil! comparison, people like to relate your films to fiction stuff. Rock School was called a documentary version of School of Rock, and The Art of the Steal is like a nonfiction heist film. So when you’re putting your films together, do you think at all about narrative or fiction film structure? And do you ever look to other kinds of movies as guidance for how you want to lay out your story?

Don Argott: When we structure our films, they have a three-act structure to them. Within that structure, there are plot points at 30 minutes and 60 minutes, and at the hour mark is a turning point. A lot of filmmakers do that, whether with fiction or nonfiction. In terms of stories, we’ll always watch movies while we’re making a movie just for inspiration or ideas. Dem has already pointed out that the closest thing — certainly we talked about it — was Searching for Bobby Fischer. It’s got that vibe.

Pellet is really the guy who’s trying to pull all this stuff together. And Bobby is, at the point that we find him in the film, not doing a whole lot. So you need someone, as a device, to be doing something. It wasn’t until later on that Bobby, because of Pellet and other forces in his life, started doing stuff. That’s when we realized how valuable Pellet was going to be as a character in helping to keep the journey moving.

Demian Fenton: Yeah, it’s just storytelling. I love that sometimes we’ll sit down and watch fiction films when thinking about how to structure our docs.

I don’t think it’s a spoiler to reveal that Bobby is still alive. But I don’t want to spoil exactly how the film ends, though I want to ask how surprised you guys were with the direction the story ended up going in. You must have initially been thinking that you’d be filming his actual last days.

Demian Fenton: We didn’t want to do that. After the first shoot, we didn’t want to come back and document this guy destroying himself. And we often say it, we would never ever have dreamed of where he ended up. If this were written in a script, it would be sent back for revisions because it’s just too wacky.

Don Argott: No one would believe it.

Demian Fenton: It’s so unbelievable. There are many times when we felt this film was going to end up nowhere. There was never a time when we thought it would end up where it did.

And you must have had other concerns while filming Bobby at his worst. Did you guys have any ethical dilemmas or fears?

Demian Fenton: It wasn’t something we had a lot of debate about. We’re first and foremost pretty ethical when it comes to things, and we’re also very honest when it comes to making films. Clearly, whether it’s a fiction or nonfiction film, there’s always going to be the thing about how much is too much. And that line is subjective depending on who you talk to. I’m sure there are people out there who say, “Oh, you didn’t show enough drug use.” We were certainly conscious of it. But that’s Bobby’s world, and it’s very important for us to not go into it with any judgments placed on it. We’re not going to say, “Hey, maybe you shouldn’t do that on camera.”

When you’re making a documentary, and you’re getting to know characters and getting them to trust you, that’s a long process. For Bobby, he just dove right in. That first day we shot with him, it was warts and all. He was smoking crack and knew there was a camera there. It was one of those situations where you have somebody willing to be that honest and show how vulnerable he is early on. That’s an honorable thing and a pretty exciting thing for documentarians, because sometimes you never get that kind of trust. Sometimes it takes days or weeks or months to gain that level of trust. For Bobby, it was there right off the bat.

Do you know if he has any regrets now about how he let himself be portrayed on camera?

Demian Fenton: I don’t think he’s regretful of how he was portrayed. I think he has regrets about how he’s lived his life. So when he sees the film, that’s tough stuff for him to watch. As it would be for anyone with a little bit of perspective. As a document of a period of time in his life, if we had walked in there and not documented him using drugs, that would not have told the true story of what was happening in his life at the time. So it’s not a portrayal thing. I’m so proud of him for where he ended up. I remember times when we sat in the edit room, and we would hit the first frame we captured, where you see him first in the film, and then jump to the last frame, and you just can’t believe it. I’m so proud of him for that, and I’m glad the journey is captured.

Tell me about your new film, The Atomic States of America, which has already debuted, just as Last Days Here is about to be released.

Don Argott: It just premiered at Sundance 2012, and it’s a film based on this memoir by Kelly McMasters called Welcome to Shirley: A Memoir from an Atomic Town. The book is about Kelly growing up in this small town in Long Island and realizing she lived in the shadow of three working nuclear reactors that had leaked into the groundwater, and there are all these unexplained cancer clusters in the area. Rare cancers and things. We read the book and were really moved by it, and at the time when we were shooting it in 2010, nobody was really talking much about nuclear power or the issue in general. So we decided to extend from her small town to reactor communities around the country, and we found a lot of similarities and a lot of amazing characters that were all battling the same thing, asking questions and not getting sufficient answers.

We were working on the film for a year, and then Fukushima happened in the middle of it. And that changed the entire film for us because that event changed everything in terms of how people thought of nuclear power, what it meant to live in a reactor community here. The film is really a great document of the debate before Fukushima and post-Fukushima. I’m really proud of the film and anxious to get it out there. Now is a good time to be having this debate about nuclear energy, especially when it’s being touted as a clean and green alternative to fossil fuels.

That reminds me that I wanted to talk about how all your films are about such different subjects and stories, aside from the two involving music, of course. So what is it that draws you to a project?

Don Argott: That’s probably really good in one way and probably really bad from a marketing standpoint, that we don’t make the same kind of film. But for us, it keeps things fresh and interesting, and we get to move in really interesting circles and learn about things and dive into things that we wouldn’t normally have the opportunity to. Music stuff is definitely our comfort zone. With Rock School and Last Days Here, they definitely play into things we’re really passionate about. But just being able to tell really great stories is equally important. With the Barnes [The Art of the Steal], we got into the art world, with Atomic States, we got into nuclear power, and with our second film, which not a lot of people know, called Two Days in April, we got involved with the NFL draft. We have range, I guess.

Is it a conscious choice for you guys to look into subjects or topics that people aren’t really thinking about, such as how you mentioned nobody was talking about nuclear power when you started The Atomic States of America?

Don Argott: As storytellers, there’s always that challenge of finding a story that hasn’t really been told before, finding this hidden story in a part of the world nobody’s really paying attention to. That’s definitely something that intrigues us, especially in the business that we work in. There tends to be a lot of documentaries about a certain subject, i.e., the War in Iraq or Afghanistan. There are 40 or 50 titles. If you’re going to do another one of those, you’re going to have to find another great story that hasn’t been told before. So the stories that really intrigue us are the ones that are a little bit hidden and that we can put our personal touch on and our creative spin on it and get it out into the world. That’s exciting.

Demian Fenton: You’re also talking to the folks who made Rock School. It was our first film that came out, and we started way before [School of Rock] started, and then halfway or three-quarters of the way through with production, we hear about this fiction film that’s coming out. So we might be a little more sensitive to that. Even though, no matter what, we seem to get pigeonholed.

Don Argott: “If you like Anvil! you’ll love Last Days Here!” “If you saw China Syndrome, you’ll love Atomic States of America!” But what are you going to do? I totally understand why people make the comparisons, but it does get a little tiresome when you’re constantly compared to something that’s not necessarily a great comparison.

Given your productivity over the past few years, I assume you’re already working on another documentary. What’s next for you guys?

Don Argott: We’re going back to music a little bit. We’re working with this heavy metal band called Lamb of God. They’re embarking on a world tour that we’re documenting. The film is less about the band and more about their fans around the world. Places including more troubled spots like Israel, India, and Mexico. We’re in the early stages of shooting, but we’re really excited about it. We’re just happy to keep working, frankly.

This interview was originally published on the Documentary Channel’s Doc Blog (via Tumblr) on February 29, 2012.