Diana Clarke

What Dotan has to say — in arresting new footage — about today’s Hilltop Youth, a right-wing Jewish Israeli settler organization that unites and mobilizes young people to occupy territory in the West Bank, is crucial and, in the American context, frighteningly familiar.

Although Speed Sisters is not comprehensive, it's vital.

In his singular dedication to brilliant work, Benson was rarely home, even on holidays, but he expresses scorn for people more concerned with others' feelings than their images.

Directors Stephen Apkon and Andrew Young reverse the usual act of border-crossing, and they do not differentiate between Arabic and Hebrew, allowing their subjects to switch between the two and subtitling both in English, signaling that the film is a space for listening, for trying to understand.

Do Not Resist is an order to the viewer: watch.

Each person’s actions here are not theirs alone, but part of a network of complicated needs and conflicting ideologies that make up contemporary Pakistan. Some of the stories are difficult to hear, but they must be listened to.

Grounded in the art of listening, The Ruins of Lifta builds a powerful, personal, political conversation between Palestinians and Israelis looking to live differently.

Though sometimes clumsy or nostalgic, the film is an engaging oral history of Leary and Dass's friendship.

Like a well-executed fine-dining experience, this sleek documentary entertains, delights, and makes viewers comfortable without evident sweat.

The most fascinating moments in Hieronymous Bosch come from art historians once they’ve turned to the work of history: creating meaning and context, wrestling with these questions. The film renders this conversation beautifully, and in moments begins to feel urgent in spite of itself.

Wang's film allows the public activist to be privately human, showing Ye at home with her lively daughter, sharing moments of friendship with other women activists or clearing brush and describing the hard rural lives of her family.

Even when it's ruining lives, bureaucracy is boring. And Indian Point, Ivy Meeropol's new documentary about a nuclear power plant of that name, is riddled with tiresome bureaucratic wrangling at local and national levels.

No, love isn't sweeping; it's putting brush to canvas and hand to hand. It's accepting imperfections. But it's also being willing to recognize the people we love for who they are, to note our own flaws and work to change them.

The chemistry between the siblings carries the film; they share a rich banter and subtle physical affection that feels real, built on years of shared intimacy — and this new experience of ignorance.

For a film encompassing generations of fraught history, Germans & Jews is awfully short, but hardly superficial.

Shot like a photo album, gorgeous frame after gorgeous frame, it continually suggests that crisis and struggle can be beautiful when viewed from the right angle.

The sloping plot of the film is all happenstance, loosely connected scenes strung together, a life taking shape.... It's hard to keep watching. Don't stop.

Pervert Park reveals a linked chain of incidents; we are all connected whether we admit it or not. What if we all lived in communities where the people around us agreed to help us get better, rather than blaming and shaming us for our transgressions?

The documentary briefly veers into tired territory when Rabin’s voice disappears and triumphal singers fill the screen, but Rabin’s consistent, thoughtful self-criticism and colorful storytelling animate what might otherwise be a pat, or at least familiar, history of Israel in the 20th century.

Cutting between present, childhood, and recent past, Bispuri constructs a subtle, richly emotional collage.

This gripping documentary about unleavened bread and the people who need it asks us to consider what we in the world owe one another — and demands that we do better.

Admittedly, it's an awfully low bar that makes a film about the Middle East radical simply for taking into account the opinions and experiences of people of color. But it's really, wonderfully refreshing to find one that centers on storytelling like this.

By glamorizing struggle and ideology across the Israeli-Jewish political spectrum, it once more invites identification with only half of those locked in the conflict Rabin was trying to solve.

Oz is the best-known novelist in Israel, notorious for supporting a two-state solution. If you don't yet understand why he does, watch this film. If you're already on Oz's side, keeping the wound open might be worth it.

Despite a melodramatic title, the film is keen and measured. Drama builds in the small moments.

This film is raw in the truest sense, yet refined in its sympathy and scope.

The film is undeniably compelling, and the fury and protest with which women across India responded to Singh's murder was explosive.... Yet there's something worrisome in the sensationalist tone.

The Tainted Veil is a long conversation, wide in scope and geography, but nonetheless intimate.