For Sama urges the preservation of basic human rights — including the right to parent a child in her birthplace — at all costs, not only for this particular Syrian family's future, but for the survival of the human race.
Director Michal Aviad's Working Woman treats sexual harassment as an everlasting terror which cannot be blotted out by a successful financial transaction, a cursory apology, or a mere good gesture.
Hillbilly provides a cogent analysis of the connection between the United States' cultural supremacy over its own Appalachian region, and the nation's resultant economic and political exploitation of it.
Breaking away from Election 2016 diatribes, Director Frederick Wiseman visually acknowledges Monrovia, Indiana as a tranquil working-class Eden, while still rendering a subtly powerful critique of small town America.
The Times of Bill Cunningham is an affectionate portrayal of the beloved fashion and street photographer who maintained his independent voice amid decades of societal conventions.
Diamantino's astounding surrealistic introduction soon unfolds into an ethereal genre-mashup.
RaMell Ross's melange of visuals capture the elucidative intersections between religion and poverty; between life as seen from a child's eyes, and as from those of a young adult; between the present and a horrific history still breathing through America.
Flamboyance and bombast prove to be Generation Wealth's most common thread, which serves as an upsetting indictment of the American Way.
Skate Kitchen gives an impressionistic presentation of city skateboarding as a gritty, tribal ritual where women roar as loudly as men and where wayward souls try to forge distinct personalities through loud dress, comic vulgarity, and the crisp imitation of spins and jumps.
It's refreshing, in an era when so many coming-of-age sports films feature devil-may-care extroverts, to instead experience the introverted, quiet, enlightened narrator.
When She Runs is a portrait of a typical suburban day which has built-in mechanisms to potentially slow Kristin down a few milliseconds -- more than enough time to end her Olympic dreams.
Played with a provocative mix of caginess, fierce intelligence, anger and unpredictable vulnerability, Mary Elizabeth Winstead's interpretation of standup comedian Nina embodies much of #MeToo's desire to present female artists as wholly realized human beings.
