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With a breezy, convivial air, the film captures the infectious spirit of its subjects, whose collaborative mission-whether taking them to a farm, a shipyard, or the home of Jean-Luc Godard-suggests the many ways in which issues of photography, memory, and environment intersect. Along their way, they discuss the 89-year-old Varda’s failing eyesight, JR’s habit of never removing his trademark sunglasses and hat, and how their new works remind them of their old ones. Available to stream on Netflix.Ī deceptively profound travelogue-cum-artistic treatise, Faces Places allows its themes to emerge naturally from its free-flowing action, which concerns New Wave pioneer Agnès Varda and photographer JR traveling around the French countryside taking snapshots of local citizens and then blowing those portraits up to titanic size and placing them on local structures. Enhanced by a wealth of old photos and film clips, not to mention interviews with Johnson and some of her closest friends and comrades, it’s a stirring snapshot of the arduous path traversed by many in the trans community-and, also, a hopeful plea for a better tomorrow.

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More than just another true-crime thriller, France’s non-fiction film uses Johnson’s unjust fate to highlight the historic persecution and marginalization of transgender men and women, including a detour into a modern headline-making trial that underlines how such discrimination continues to exist today.

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Though police deemed her death a suicide, director David France’s ( How to Survive a Plague) outstanding documentary argues otherwise, following Anti-Violence Project activist Victoria Cruz as she reopens Johnson’s cold case. Johnson was a New York City fixture whose life was cut tragically short in 1992 when her body was discovered in the Hudson River. Available to stream on Netflix.ĭubbed “the Rosa Parks of the LGBT movement,” trans icon Marsha P.

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In their heartbreaking stories of suffering and survival, Ewing and Grady (Jesus Camp) pinpoint the way religious organizations institutionalize loyalty, obedience and abuse-and how breaking free from such a milieu requires equal measures of courage and sacrifice. And for Etty, a mother of seven, it necessitates dealing with attempts on her life by her husband and his cohorts, who object to her wish to retain custody of her children while living a more secular life. For teenage Ari, who’s only just learning about the Internet (thanks to a sheltered upbringing), it entails coping with childhood abuse via excessive drug use. For Lazer, who’s already abandoned his wife and children for the West Coast where he wants to make it as an actor, that means living in a parking-lot trailer. The difficult of escaping religious fundamentalism is depicted in harrowing first-person detail by One of Us, Heidi Ewing and Rachel Grady’s sterling documentary about three young individuals trying to leave their NYC Hasidic Jewish community.

Scored to an eclectic electronica soundtrack, and narrated by Maureen Jones in an eerily dispassionate voice, Anthony’s non-fiction essay refuses to hold its viewers’ hands, instead content to use shrewd juxtapositions of varied materials to present a damning indictment of how systems institutionalize oppression of the “undesirable.” Rent/buy on Amazon.

Comprised of archival photos and documents, news clippings and maps, 3D video game sequences, shots from rats’ POVs, scenes involving amateur urban rat killers, and panoramic vistas of Maryland’s most famous city, director Theo Anthony’s film employs a thoroughly idiosyncratic style in order to link Baltimore’s long-running rat infestation with its geographic and socio-cultural development-a process that routinely involved segregating its black and white populations. Despite its title, however, Rat Film is not merely an up-close-and-personal examination of those rodents rather, it’s an inquiry into their thorny relationship with their environment. Baltimore has long had a serious problem with rats.