The Supreme Price leaves you in awe of Hafsat Abiola’s grit and grateful for her tenacity.
Raoul Peck’s Fatal Assistance, on the other hand, holds an appropriately cynical attitude toward spectacle.
Human rights activist David Kato’s dynamic experience haunts much of Call Me Kuchu.
Color of the Ocean is sincere, well-crafted, and nice to look at—it just isn’t especially vital.
George Gage’s Bidder 70 is a highly inspirational account of American climate activist Tim DeChristopher.
Will Egypt’s democracy, regardless of which constitutional model it’s styled after, be carried out to the end?
With Bitter Seeds, director Micha Peled completes his “globalization trilogy.”
Salaam Dunk is a genial high-five to team sport as a route to girl power and a sense of community.
Throughout his documentary, Kirby Dick shows a great commitment to the stories of individual women.
As in a classic Hawksian western, friendship and professionalism are tightly knotted in Bernardo Ruiz’s frontera documentary Reportero.
The real auteur of Ai Weiwei: Never Sorry turns out to be the subject himself.
Giulia Amati and Stephen Natanson’s documentary is a startling glimpse into life at ground zero of the Israeli occupation.
As a result of filmmaking both respectful and restrained, an array of poignant images, in wide and long shots as well as in close-ups, emerges.
Life, Above All feels more like a lecture about a problem than a window into a world.
While it illuminates the importance of citizen journos, the film also unintentionally highlights their limits.
Human Rights Watch Film Festival 2011: Better This World, Love Crimes of Kabul, & More
Three nonfiction features at this year’s festival take 21st-century incarceration, and accompanying judicial abuses, as their focus.
Whether the system works or not at this point is apparently irrelevant, a concept that totally undermines the film’s premise.
It delivers the message that was missing from the other film from this series that’s playing at the Human Rights Watch festival.
The Mexico of Backyard terrifyingly resembles an American funhouse nightmare of subaltern stereotypes.
The film is a report from the middle-American front of the battle for LGBT citizens to lead uncloseted lives.