55 Best Documentaries on Roku Channel

American folk singer Sixto Diaz Rodriguez recorded two albums in Detroit in the 1970s, which he played live across the city, but never to critical acclaim or commercial success. Disappointed, he soon quit his musical career, bought a run-down house in the Motor City, and lived a simple life working in construction. So far, this sounds like the biography of many musicians that never quite made it, talented or otherwise.

However, a strange thing happened. By the mid-1970s, his albums were getting significant airplay in countries like Australia, Zimbabwe, and Apartheid-era South Africa, where he was soon considered a musical voice on par with the Beatles. While living a reclusive life in Detroit, Michigan, he unwittingly became a star on the other side of the globe. This engaged and visually appealing documentary by the late Swedish director Malik Bendjelloul tells his story and spells out a fascinating footnote of global music history.

Simply titled The Imposter, this film by English documentary maker Bart Layton tells an unbelievable tale. Any plot summary doing this film justice has to err on the side of brevity, which is why it will be only one line long: this is the story of Frederic Bourdin, a serial imposter nicknamed “The Chameleon”, who at one time claimed to be the missing son of a family from Texas. The film is so well-shot that it is hard to tell fact from fiction at times and it will force you to remind yourself that this is in fact real life. Expect twists and turns at every corner and brilliant storytelling from real people. If Christopher Nolan created a 48-hour story, it would pale in comparison to this film.

Do today’s political talk shows often feel like meek, scripted, and predictable affairs to you? Would you rather have that euphoric feeling you get when watching someone smart and eloquent talk about important ideas? Multiply that by two and you get Best of Enemies. In 1968, ABC covered the Republican National Convention in Miami Beach and the historic Democratic National Convention in Chicago by airing a 10-part series of nationally televised debates between two ideologically opposed and sharp-minded public intellectuals: Gore Vidal and William F. Buckley. The former was an ardent and openly bisexual liberal and progressive. The latter an elitist cultural conservative, whose magazine, National Review, vowed to always support the most far-right candidate viable for office. This confrontational set-up is not only credited with ushering in an era of pundit politics, but also with producing some of the most entertaining intellectual debate ever to be seen on TV. When’s the last time you saw anybody unironically being called a “crypto-Nazi” on national television?

This Oscar winning documentary is no standard film. Even by being beautifully crafted and having an amazing soundtrack–soundtracks are important–it does not miss its core story for a second. A delivery so good and so crisp that it will make you go “the sons of b” and “those motherf” more times than Joey from Friends got laid in 1999. On a more serious note, Inside Job is a great and complete technical overview of the financial meltdown. I know the word “technical” scared you there, but it shouldn’t! The movie is simple, uses charts and colors for all of us who once thought figures and formulas were too complicated to understand — it even makes you go, “hey, this is not so difficult to understand. Them motherf.’ The movie is also very exciting: no spoilers but all I can say is that there are b*s trippin in there.

Orcas killing people? Saving whales? There was indeed a time when these issues were frontpage news and that might be the reason why this sounds like a 90s cliché to you. You might agree that this issue should be staunchly dealt with once you’ve watched Gabriela Cowperthwaite’s 2013 documentary. Orcas still being held captive by marine parks like SeaWorld to perform stunts and to parade around swimming pools to entertain ticket-buying families. Blackfish is the story of one of them in particular: a bull Orca named Tilikum, who has killed several people as a result of their immoral imprisonment. Similar incidents tend to be covered up by the parks’ operators and management. They are, however, attributable to the fact that the animals are quiet simply driven mad by the unnatural conditions they are subjected to. They are not born as killers, they are turned into them. First-hand accounts by former whale trainers and experts deliver fascinating truths about Tilikum and the species as whole, elaborating on their remarkable intelligence and social behaviors. For those unaware of this, this passionate documentary makes for a chilling watch.

In a stunning and vivid (re-) introduction to the Black intellectual, author, and social critic, James Baldwin, this movie digs very deep into the American subconscious and racial history. It tells the story of America by telling the story of “the negro” in America, based on a book Baldwin started to write, which would have studied the famous assassinations of three of Baldwin’s friends: Medgar Evers, Malcolm X, and Martin Luther King, Jr. He wrote about 30 pages before he passed away in 1987. Haitian director and activist Raoul Peck picked up the project and made it into a movie, earning him an Academy Award nomination. Narrated by none other than Samuel L. Jackson, I Am Not Your Negro highlights, at the same time, Baldwin’s genius, his unique eloquence, and the beauty of his soul as a human being. It is a sad truth that Baldwin’s denouncements feel as relevant today as they did 50 years ago. As such, this movie serves as a sobering reminder of how far America still has to go. A mesmerizing experience!

This surprising documentary follows Jiro, an 85 year old Japanese chef, his Michelin-starred restaurant in the Tokyo underground, and his eager sons. While ostensibly about sushi – and believe me, you’ll learn about sushi and see absolutely gorgeous images of the raw-fish creations – the film’s dramatic impetus is carried by the weight of tradition, the beauty of a labor of love, obsession, and the relationship between father and son. Truly a must-watch.

The Tragically Hip was a deeply beloved band from Ontario that peaked in the 90s with hits like Grace, Too or Nautical Disaster.

The Hip, as their fans refer to them, had just finished recording their latest album in 2015 when the lead singer was diagnosed with a fatal disease.

This movie is about them deciding to go on one last tour to say goodbye to their fans and country. Mostly, it’s about the singer, Gord Downie, and how his personality and love for the music shined through his illness.

Picture someone who is giving an immaculate performance despite being a few weeks away from death, and a packed stadium of people singing along in tears – this is this movie.

It’s truly an incredible story of human ambition, empathy, and the bond that music can create between an artist and a whole nation.

Undefeated won an Oscar but since it’s a documentary, few sadly paid attention to it. It tells the story of a football team in a poor area in Tennessee. Kids without a bright future, until the new coach arrives. Yes, that sounds like a very old, cliché tale. But keep in mind it is a documentary, and the story it tells is powerful, gripping, and any familiarity quickly becomes irrelevant. Even if you have no interest in American football, or in sports in general, you will love it and more than likely find yourself reaching for the Kleenex at least a few times before the credits roll.

A wacky viral story — the kind that gets played for laughs at the end of news broadcasts — gets uncommonly deep consideration in this documentary gem. That’s not to say that Finders Keepers ignores the surreal comedy of the situation that John Wood and Shannon Whisnant, two star-crossed North Carolina men, found themselves in in 2007: battling over the custody rights of John’s mummified amputated leg. The humor in this bizarre tale and all the myriad eccentricities of its real-life characters is never left untapped, but to simply focus on that would add nothing new to the way the story had been told thus far. 

Unlike the many clips from news segments and reality TV that we see in the film, Finders Keepers instead looks beyond the low-hanging fruit and finds deep pathos simmering under the surface of this wacky tale. What emerges is a complex, often tragic, and very American picture of the way traumas shape our lives, the addictive pull of drugs and attention, and fate’s habit of twisting nightmares into blessings and vice versa. It’s the kind of film that makes you wonder how many other unexpectedly poignant stories have been short-changed by our impulse to be flippant.

The highly unusual story of this documentary starts with Kevin Hearn, a member of the band Barenaked Ladies, realizing that his painting by famous Canadian Indigenous artist Norval Morrisseau is a fake. When he sues the collector he bought it from, he starts a series of inquiries that unravel a story that gets progressively darker: drug dealing, organized crime, addiction, sexual abuse, and completely crazy characters (reminiscent of Tiger King).

Behind all of that, There Are No Fakes is about the exploitation not only of Indigenous art but of Indigenous people in Canada in general.

This documentary from journalist David Farrier, New Zealand’s answer to Louis Theroux, plays more like an out-and-out horror movie. But don’t be fooled by the serial killer connotations of its title — the real Mister Organ’s crimes are (mostly) psychological and have no obvious motive, making him quite a bit scarier than your usual screen villain. Described as a “parasite,” “terrorist,” and a “black hole” by the few traumatized victims of his who agree to talk on record about him, Organ is clearly a master at weaving a sticky web around everyone who comes near him — including, as it turns out, Farrier himself, who soon becomes a casualty of his own investigation.

Though the doc never really punctures the nebulous aura of this deeply creepy — and yet somehow deeply dull — character, that’s what makes it such an arresting watch: Farrier takes us along for the ride as he’s sucked into the disorienting orbit of an energy vampire, largely denying us the relief of a clarifying explanation so that we, too, get a taste of the claustrophobia and psychological torture that come with dealing firsthand with someone like Organ.

It’s hard not to watch The Unknown Country and think of Nomadland: along with similarities in their Terrence Malick-inspired visuals, both films follow lone women seeking catharsis on the road as they grieve profound losses. But Morrisa Maltz’s debut feature is a decidedly lower-key, more spiritual affair — and is all the better for it.

The film is light on plot exposition, but it’s clear from her soft melancholy that Tana (Lily Gladstone) has set off on this road trip following a personal loss, a meandering journey that takes her from freezing Minnesota to Oglala Lakota reservations in South Dakota and down through Texas. Along the way, she reunites with loved ones and crosses paths with total strangers, all of whom are played by charismatic non-professional actors whose real life stories earn as much of the spotlight as Tana’s impressionistically shot journey. These moments of documentary, Gladstone’s naturalistic performance, Andrew Hajek’s contemplative images of lush American landscapes, and the film’s aversion to outright drama enrich the fictional elements by grounding them in earthy reality. There aren’t many more emotionally rewarding ways to spend 80-ish minutes than watching this poignant meditation on the tangled richness of human lives and the land we live on.

This crazy heist movie is told in a very original way. Because it’s based on a true story, the movie (with actors and a story) is sometimes interrupted by the people it’s about. The opening scene even reads: “this movie is not based on a true story, it is a true story”. Two friends decide to rob their local library from rare books worth millions. They’re driven by money but also by wanting something different than their monotonous everyday lives in Kentucky. The need for a change is a big theme in this movie, but the story and the way it’s told never cease to be breathtakingly thrilling. American Animals stars amazing actors like Barry Keoghan (Dunkirk), Evan Peters (Kick-Ass), and many more; but perhaps equally as notable is the director: Bart Layton, who is fresh from his amazing 2012 sleeper-hit The Imposter.

This movie narrated by Nicolas Cage is the incredible story of actor Anton Yelchin (Star Trek, Like Crazy): from being born to a Jewish Russian family in Leningrad to moving to the U.S. and ending with his sudden death at age 27. Anton, or Antosha as his loved ones called him, was a gifted kid: he was making his own movies at seven years old, taking highly sophisticated notes on Fellini movies, and picking up playing guitar in a short time. He took photographs that still show in exhibitions around the world. He led an extraordinary life, portrayed here, one that was cut way too short.

The question mark in the title represents the central idea of this fascinating documentary: what if worshipping Satan is the only way of ensuring religious freedom for everyone?

That’s what a group of young members known as The Satanic Temple believe, led by a determined and well-spoken Harvard graduate. They embark on a journey across the U.S. to challenge corrupt officials and the prevalence of religious biases in government agencies. They always request that their belief system (Satanism) is given the same favorable treatment as Christianity, effectively proving that authorities will really only accept a show of religion if it’s one religion: Christianity.

But their intoxicating energy comes with costs: divisions within the organization and growing pains. This documentary perfectly illustrates not only a misunderstood religion (in the documentary it’s referred to as “post-religion”) but the difficulties of establishing grassroots movements in general.

There’s more than a touch of Louis Theroux to this engrossing documentary — fronted by New Zealander pop-culture journalist David Farrier — about an innocuous-seeming Internet phenomenon: the actually-sinister subculture of “competitive endurance tickling”, in which young men undergo “tickle torture” for money on camera. When Farrier unassumingly requests an interview with an American producer of tickle content, it kickstarts a bizarre campaign of harassment and opens up a rabbit hole of unbelievable twists and turns. The wild places this documentary goes are best left as unspoiled as possible, but it’s no spoiler to say this emerges from its seemingly lighthearted premise as a deeply unnerving story about money, power, sex, and shame in the Internet age.

Man on Wire is a true technical masterpiece. You can almost feel the director telling the cameraman what angle to choose, or thinking about the questions that will generate the most resounding answers. However, this does not diminish the story this documentary tells one bit. It’s one that is glorious, riveting, and fun. It’s one where you feel like an insider to a world lived on and below wires, with high-stake risks. Hopefully the edge of your seat is comfortable, because this is where the movie will keep you till the very end.

Don’t be fooled—despite being a three-hour documentary, Hoop Dreams is just as thrilling, heartbreaking, and cinematic as any sports film out there. Unlike them, however, Hoop Dreams is less of an uplifting feel-good story than it is an honest and sobering look at how the education system has failed Black communities. It’s not a complete downer, though, since we follow two hardworking and inspiring boys committed to lifting their families from poverty. While more privileged players can afford to treat basketball as a hobby, to Arthur and William, basketball is a lifeline, a rare chance to enjoy better opportunities and give their families a better life. Imagine carrying that on your shoulders while training, studying, looking for colleges, and surviving teenhood. It’s a lot, but director Steve James weaves it all beautifully. James divides the chapter into freshman, sophomore, junior, and senior years, following Arthur and William as they start on the same footing, diverge and live parallel lives (one in private school, the other in public), and eventually meet again during their final years in school. Their journeys are riveting, not least because we also get to know their families, friends, hopes, and dreams. This is riveting cinema, as socially conscious as it is competitively thrilling.

From Ground Zero doesn’t have the most number of shorts within an anthology film, though it comes pretty close with 22 segments, ranging from 3-6 minutes from different directors in Gaza. That’s a lot of shorts, with not a lot of time for each story. Most anthologies tend to be a set of three, but given the media suppression, the more, the better it gets at capturing life in the area. Every short balances the other in tone, style, and in approach. It’s harder to deny the truth it portrays, not with this many shorts, and this many eyes, on the ground.

An incredible documentary about Matt Green, a man who decided to walk every street in New York City. That’s more than 8000 miles (more than the diameter of Earth) that he had been walking for six years up to the point of making this movie.  

Matt stops. And that’s the beauty of this documentary, where the filmmaker joins him for part of the journey. You quickly realize that the intrigue is not so much about Matt’s challenge, but about who he meets and what kind of experiences he goes through. You also realize (if you didn’t already) that New York is a place of unimaginable size, with incredibly lively and diverse human stories. Plus lots of other forms of life too: Matt doesn’t have a fixed place, so he cat-sits for shelter.

Fun fact: this is the first movie that actor Jesse Eisenberg ever produced!

For the longest time, American media coverage was skewed to justify the presence of US forces in Arab states. Control Room unveils that bias by following Al Jazeera at the start of the Iraq War in 2003. One of the biggest Arab media outlets at the time, Al Jazeera dared to cover both sides of the war, but by doing so put a target on its back. It was vilified by both the US government, which called it an Osama mouthpiece and the Arab world, which called it a Bush ally. 

Control Room shows the difficulty (if not sheer impossibility) of achieving journalistic balance, objectivity, and integrity. Through interviews with Al Jazeera reporters and US military officers, we witness how lines are blurred, loyalties are tested, and purpose is shifted in a state of war. A seminal work on media bias and press control, Control Room is vital and enlightening, a must-watch to understand the inner workings of the fourth estate. 

Hilarious and sweet, Meet the Patels is a charming collaboration between siblings Geeta and Ravi Patel. While the film is a documentary, it feels more like a real-time romantic comedy – which makes sense, given that it’s about Ravi’s quest for the perfect wife. Standard tropes, such as parental disapproval, are present here, but the film keeps it fresh as it focuses on the intricacies of Indian dating, specifically with traditional matchmaking and modern internet dating. However, like some of the best romcoms, the real heart of the story lies outside of Ravi’s love life. What drives the story is the dynamic between Ravi and his family. Balancing parental expectations with personal hopes is a struggle anyone can relate to, though this film presents this through comedic debates about marriage. At the same time, these debates end up insightful and oftentimes reveal fundamental principles the family believes in. It’s only through resolving familial issues that Ravi finally figures out his love life.

The Last Man on the Moon is a documentary about astronaut Eugene Cernan, Commander of the Apollo 17 lunar landing mission in 1972. Chronicled by Cernan himself as he reminisces on his life, the film follows his early career with the Navy, his recruitment and training as an astronaut, and his participation in 3 trips to space: Gemini 9A, Apollo 10 and eventually Apollo 17—the last of NASA’s six expeditions to the Moon. Cern also delves heartfully into his loss of friends as well as his regretfulness for missing out on so much family time while away. It’s a poignant and inspiring account, with Cern providing a fine lesson in the confidence and diligence in takes to pursue and accomplish one’s dreams

Similar in spirit and in subject matter to the Oscar-winning documentary 20 Feet from Stardom, The Wrecking Crew pulls back the curtain on the recording of many of the greatest American songs of the 1960s and ’70s: that a single group of unassuming session musicians were responsible for bringing out the sound in these tracks. The film is a treasure trove for musicians and music fans, making you hear certain instrumental nuances in a different light and deepening your perception of music between what was written and what was recorded. Then inevitably and tragically, the realization sets in that few—if any—of these musicians have received the recognition they truly deserve, as essential but unfairly small parts of a music industry ecosystem that often cares more about image and entertainment than musicianship.

Slow, contemplative, but captivating, Baraka uses no narration, dialogue, or text to connect its images. The documentary stitches together shots with different subjects from different locations around the world. At first, it seems very peaceful—gorgeous, high-definition shots of nature paired with a soothing, resonant score that lulls you into hypnosis—but as the film progresses, director and cinematographer Ron Fricke presents more scenes with people, from the cities to the countryside, to places rarely documented on film. Depending on how you look at it, Baraka will either feel like just a compilation of screensavers or a profound meditation on how intrinsically connected everything is. It’s totally breathtaking either way.

There’s a natural competitive thrill to this chronicle of the 1999 Scripps National Spelling Bee and eight of its bright young participants, but Spellbound has more than an edge-of-your-seat pull going for it. For one, there’s its holistic approach to profiling the competitors: director Jeffrey Blitz makes this as much a portrait of the village that raises these kids by interviewing their proud families and supportive communities. We get intimate snapshots of each of their disparate young lives, which together represent a cross-section of American society: from Angela — the self-taught daughter of Mexican ranchers who don’t speak English — to Neil, whose parents employ an army of tutors to prepare him for the oncoming “war.”

Spellbound ultimately sees the good in everyone — even the pushiest parents — and charitably foregrounds the obvious love and pride they all have for their kid geniuses, no matter what happens. What’s even more impressive, though, is the inspiring resilience and emotional intelligence of the young competitors themselves, some of whom have transcended deeply entrenched social inequalities to earn their place in the contest. Even those who don’t have a stirring backstory are nonetheless compelling characters (see: the delightful Harry), making Spellbound an alternately emotional, funny, and always gripping watch.

In Amy, Kapadia eschews talking heads for something more intimate: home videos, photographs, and phone messages from Winehouse’s earliest and closest friends, which he stitches together to reintroduce a version of the singer that has, up till this point, been ignored by the public. It’s an attempt to reverse Winehouse’s vilified public persona, not by denying her struggles with drug and alcohol abuse, but by showing as many parts of her as possible. The musical prodigy, jazz fanatic, and sweet friend, as well as the troubled soul, hurt child, and obsessive lover. She’s far from perfect, but she is human, not some punching bag caricature the media has made her out to be. Though Kapadia’s methods sometimes get a little too close for comfort (using phone messages intended for her friends and private clips of her being high feels borderline voyeuristic), they also feel necessary in reclaiming an identity that’s closer to her true self. During these questionable moments, Amy feels not just hard but wrong to watch, but that discomfort is also the point. It should be unsettling to get to know a real person.

Sometimes, we meet people we don’t like, but in some way or another, we’re forced to keep dealing with them. Most of us would just try to avoid them. But not Werner Herzog, no. Instead, in memory of actor Klaus Kinski, he created a funny documentary about their rather difficult bond, a bond that has stuck through multiple films. It’s not the most flattering portrait of the actor. Oftentimes, Kinski was referred to as a problem in the films’ production, with Herzog recollecting why in the places they shot in. Despite this, however, Herzog chose still to work with him, and the respect he holds for Kinski’s craft adds a fascinating fondness that a standard documentary could never capture.

Stories We Tell got on everyone’s radar when, back in 2015, it made the list of the all-time top ten list of Canadian films. That speaks to both the caliber of this movie and its relevance to North America. It’s in fact a first-person account about (and made by) actress Sarah Polley (Mr. Nobody, Exotica, Away from Her, Take This Waltz). In the film, she investigates the rumor that she was the product of an affair, and that her father might not be her biological father. Her family and suspected fathers are all storytellers, and many of them Academy Award winners. Ultimately, the movie becomes about her family’s remembrance of her now-deceased mother (the famous actress Diane Polley). It’s an examination of how the same story can be told so differently by different people and across time. Lies get added and truths are hidden, and all of that enriches Polley’s pursuit.

Former Congressman Anthony Weiner just doesn’t give up. After a 2011 scandal that had him resign from office, Weiner tries to make a comeback in this documentary that follows his 2013 mayoral campaign. His passion for public service is indisputable, and despite his shortcomings, it’s hard not to root for his go-getter attempts at a second chance. To this end, he wins and fails, with each outcome feeling more dramatic and consequential than the last. Things culminate upon the revelation of a fresh, new scandal, which disrupts his unlikely rise as a top candidate as well as the film’s production flow, which then takes a turn for the better (or worse, depending on your sympathies for Weiner). 

Fast paced and brilliantly stitched, Weiner is a compelling account of a man who won’t back down, and of the people surrounding him who suffer from his obstinacy. The documentary is proof that even in our hypercritical age, it’s still possible to both humanize and criticize a “canceled” subject, all while maintaining level-headed humor and allure.  

It’s hard not to botch a documentary about one of the most endearing, beloved, and talented celebrities to come out of the industry, so in subject matter alone, Love, Gilda is a winner. But director Lisa Dapolito rightly understands that Radner’s life is more than just the usual Hollywood story of stumbling into fame and fortune as she mines something quite special out of Radner’s journey. More than a biography, Love, Gilda is also a manifesto for female comedians, a relatable tale of girlhood, and a comforting message for those afflicted with similar illnesses that they’re not alone. Also, by the end, it turns into a great love story you can’t help but long for.

A truly timely and difficult documentary, Deliver Us From Evil follows an interviewed confession of a Catholic pedophile. In addition, the film shows his victims, their coping strategies and lives as well as the extreme lengths the Catholic Church went to to cover up and enable the systemic rape of children. While often times hard to watch, this film shines a light into the dark corners of human behavior, forgiveness, sin and faith in a way that is both confronting and relatable.

A quiet documentary that was released to celebrate the British Royal Air Force’s centenary, Spitfire tells the story of the famous plane that younger audiences might only recognize from movies like Dunkirk or Darkest Hour. It features gorgeous footage of the last remaining planes in service flying over the British coast, testimonies from pilots who are still alive and a reminder of the key role that this plane once served. It feels like an attempt to capture and archive the importance of the plane, but also of its pilots, who for the most part were young kids with little training, but who, with time, learned valuable lessons from warfare. A must for aviation fans and a great option for anyone looking for a quiet movie to watch with their family (grandparents included). 

For the background singers featured in 20 Feet from Stardom, music is a vocation. It is not merely an occupation or a pastime; it is a way of life, a “higher calling,” as the legendary Lisa Fischer would say. For 90 minutes, director Morgan Neville superbly maps out the development of back-up singing in the US throughout the decades, exploring its deep connection with African-American culture and women’s history. It’s fun to finally put names and faces on the oohs and aahs we hear on records aplenty, but the film always finds its grounding on the singers’ own unique voices, where its true soul lies.

There are moments in cinema when the character and actor are irrevocably linked– to think of one is to think of the other, to the point that the line is blurred between both. One such pair is Spock and Leonard Nimoy, and, after his death, it was inevitable that the documentary about Nimoy would also be a documentary about Spock. For the Love of Spock is the first of two Nimoy documentaries, made by his son Adam, and it’s a lovely tribute to the iconic sci-fi legend that shifted the entire genre and the fan culture that emerged, but it was also a personal film where the family reckons with the fame that occurred as a result. Superfans might not learn that much about Spock (some of them are interviewed in the film), but For the Love of Spock is an excellent profile, even if it’s not as objective and logical as the character itself.

The late Val Kilmer is best known for his roles in Top Gun and Batman. If you’re from an earlier generation, you might also recognize him in the tabloids as that famously difficult actor to work with, always demanding perfection in every scene. The documentary Val sheds those outer layers to reveal a man who was, above all else, sensitive, ambitious, creative, and resilient. Through intimate home videos, which Kilmer started taking when he was very young, we see him as a playful kid, a talented prodigy, a playwright, a painter, a father, and a deeply committed actor. Misunderstood and miscast, yes (for reasons that will be divulged in the film), but undeniably talented and committed as well. Val is a beautiful portrait of a complicated man in his twilight years. He’s an actor who could’ve done more if the industry had been kinder and who, thankfully, had the good sense to document almost every minute of his life with a good ol’ camera.

When Toni Morrison taught at Princeton, she told her students, “Don’t write about your little life. Create something.” This documentary follows her instruction by being more than a simple biography. Apart from telling the story of her rich, fully-lived life, The Pieces I Am doubles as an artful and educational history lesson about the unique African-American experience. It’s dotted with beautiful artworks and insightful anecdotes shared by Morrison’s colleagues from the various schools and publishing houses she worked at. But most important of all, Morrison gets to narrate the film in her own beautiful, poetic words and, in the process, reveals different facets of herself. There’s Morrison the teacher, editor, writer, and mother, but also: the delightful baker, the supportive friend, the party enjoyer, the critical philosopher. The Pieces I Am is a great collection of many things, a moving collage that pieces together the most interesting parts about the beloved writer in question.

Frank Zappa’s creative scope could barely be defined –  a mix of rock, composition, design, and in his early days even filmmaking.  This documentary does its best to summarize the un-summarizable, starting with Zappa’s last time playing guitar and going back to early details like an infatuation with explosives as a kid. 

Zappa’s overwhelmingly full life is focused on the documentary in the study of his incredible work ethic and unique creative philosophy. Far from the drugged hippie perception he was often met with, Zappa was hard-working, business-aware, and didn’t take drugs.

The manifestations of his exceptional intellect and unique character are abundant in a film that will please his fans and send anyone new to him into a deep Wikipedia rabbit hole.

Lauren Greenfield’s film follows the Siegel family’s decline from opulent abundance to gaudy ruin. Mega wealth, delusions of grandeur, and grotesquely opulent taste—the Siegel family were the perfect subjects for the film, which sets out to document their most lavish expense: their Versailles home, a mansion sprawling more than 85,000 square feet and modeled after the Palace of Versailles.

The Siegels, no doubt, are entirely out of touch with reality. David Siegel, the owner of one of the world’s largest timeshare developers, married Jackie, a former Mrs. Florida who is 30 years younger. The Versailles home is to be Jackie’s castle, an enormous home for her eight kids and numerous pets.

But the 2008 recession does not spare the Siegels, and their company is devastated. After layoffs and desperate attempts to recover financially, the family struggles to pay back the banks. Construction halts. The Versailles home remains vacant and unfinished.

While the film does not sympathize with the Siegels, Greenfield creates a space where pity is possible as well as criticism. And from there comes the universal: desperation, longing, hope for better, if not also more, more, more.

Going deep undercover, integrating one’s self into a group without any suspicion, and passing out information to another party… That’s the job of a mole. While they mostly lurk in various government agencies, laboratories, and other special circles of power, The Mole Agent instead goes deep undercover in a Chilean retirement home, having stakes that may not be world-ending, but take more personal, domestic weight as Sergio befriends the residents, records and reports on their well-being, and tries to figure out what exactly Romulo wants as evidence. It’s a funny situation, one that depicts the resident home with warmth, albeit with the occasional spy cams and an old-fashioned piano score, but it can be difficult to figure out where the line is between truth and fiction, as some scenes can feel a bit staged. Still, The Mole Agent is a charming portrait of old age, made so compelling with director Maite Alberdi’s unusual perspective.

There are plenty of great movie critics out there, but only a couple share Roger Ebert’s dedication to cinema. Ebert made it his mission to make not just movies but movie criticism accessible to the public by discussing it in the simplest yet moving terms. Even after he was diagnosed with a debilitating sickness, he continued to write. Director Steve James (The Interrupters, Hoop Dreams) understood that on a deep level, and so made Life Itself just as available to everyone, from diehard Ebert fans to the most casual moviegoer. Like Ebert himself, the film is smart but never offputting, wide-reaching but deeply personal. Most of all, it’s inspiring–unflinching but inspiring. We should be so lucky to view films, and indeed people and life itself, through Ebert and James’ point of view.

Albert Maysles’ penultimate film celebrates fashion icon Iris Apfel, who charms everyone with her quick wit, no-nonsense attitude, and love for the craft. There’s something brilliant in the way the movie starts not by rehashing facts about her, but with Apfel herself going through the process of choosing what to wear. She’s doesn’t just pick clothes; there’s a kind of careful consideration made with each item she chooses, that she remembers every detail about (from where she got them, to the culture and history behind them), and that she intentionally picks in the name of joy. While the documentary doesn’t dive too deep into Apfel’s life, the woman is just undeniably cool. Simply going through her processes and listening to her talk is already an inspiration.

This Norwegian documentary in English is about Magnus Carlsen, the current world champion who became a chess grandmaster at age 13. It might be tough to believe but Magnus’ ascension was slowed down significantly by many crises in self-confidence and difficulty to cope with the pressure at a young age.

With home footage and interviews with everyone from his adversaries to the champion himself, Magnus the movie tries to be a complete portrait of the prodigy. Yet, crucial aspects are missing, such as an explanation for a sudden change in character, and perhaps more importantly, explanations of Magnus’ genius in chess. His techniques and approaches are mostly attributed to intuition, but the movie fails to explain how that intuition is reflected in the game.

From early footage of country-folk threshing their crops to blissed-out clubbers at a rave, there is a mesmerizing, insistent sense of rhythm and motion to Arcadia. Director Paul Wright has curated an astonishing array of archive material for this feature-length video montage examining the British and their sometimes uneasy relationship with the land.

Cut together in loosely chronological order, the footage is enigmatic, seductive, and disturbing, set to a haunting soundtrack from Adrian Utley of Portishead and Will Gregory of Goldfrapp. Watching Arcadia is hypnotic, like wading into the uncertain waters of time with a head full of shrooms. And that’s definitely a good thing.

This documentary is about the life of New York rapper Nas around the time of the release of his first album, Illmatic.

It spans a quick and summarized 74 minutes and, while embellished by the direction of street artist One9, it remains a great snippet of recent American history. Nas’s album was a reflection of many realities that characterized his upbringing, while the movie serves to further explore those very realities.

When thinking about buying something, it’s easy to only think about price and quality, but with many investigations around the world about inhumane labor practices, it’s no wonder that more people would like to look at the companies they’re buying from, or at least buy secondhand when possible. One such investigation is depicted in Letter from Masanjia. While it starts first at the discovery of the letter in Oregon, the true story continues on the other side of the world, through the difficult experiences Sun Yi and his fellow detainees were forced to go through when the Falun Gong movement grew greater in number than the Chinese Communist Party. It’s a harrowing tale, with certain sequences being animated due to a natural lack of footage, and it’s one that needed to be made.

While cable television didn’t have the same prestige as movies for decades, nevertheless the format garnered some influence, even then, with generations of viewers and filmmakers growing up in the medium. Dark Shadows is one such influential television show, and its journey from middling soap opera to groundbreaking drama is depicted in Master of Dark Shadows. Viewers totally unfamiliar with the 60s-70s program might only appreciate the film for its slice of media history, as the documentary takes a rather ordinary, interview-focused approach, but Master of Dark Shadows is clearly a tribute to Dan Curtis, the man behind the midday monsters, and the legions of fans it inadvertently garnered.

A documentary about the rise and fall of the Enron Corporation, the energy-trading and utilities conglomerate that gained worldwide attention in 2001 upon its headline-grabbing bankruptcy. Detailing the massive amount of fraud and malfeasance committed by the organization’s top executives, the film delves into the many intricate strategies and “special purpose” entities that were manufactured in order to hide enormous losses and debt from shareholders and the general public. It’s a fascinating and distressing examination of hubris and greed, with so many ethical considerations laid aside in the pursuit of financial gain. The film is as pertinent today as it was when it was released in 2005—perhaps even more so in this post-financial collapse era of increased distrust in corporate agendas.

Arguably Werner Herzog’s most renowned film, Grizzly Man is a thought-provoking documentary about Tim Treadwell, a man who, as the title suggests, lived among bears. While he remained only known for how his story ended, by one of the bears turning on him, Grizzly Man is the exploration of the man’s complex mind, unlimited energy and love for nature. It could be because of the subject matter or because of Herzog’s mesmerizing monotone narration, and maybe it is because of both – but Grizzly Man becomes a supremely beautiful look at psychology and how it collides nature. Also like most of Herzog’s other work it’s a hunt for the peculiar, so expect many funny, absurd, and charming moments.

A documentary that reveals just how insane the men that compete in the MotoGP are. It follows Valentino Rossi, one of the best riders of all-time if not the best, in a very pivotal season for him, 2010-2011. An in depth look into his competitiveness but also his passion for the sport and for the machines in it, it’s the kind of portrait that will make you feel you know the subject in person. And when it’s not focused on Rossi, it becomes a a real-life thrill fest of bike-mounted cameras of riders going at it at 200+mph.  A must-watch for gear-heads and uninitiated fans alike that plays with the idea that “if you want to win it all…you have to risk it all”.

On par with the best documentaries of the 21st Century thus far, “Requiem for the American Dream” is an essential viewing for the discerning viewer in search of a more complete understanding of how American society has evolved to such a dramatic point of polarization, and how both politics and big business have played a role in this process. In his introductory remarks to the film, celebrated intellectual and linguistics professor Noam Chomsky expounds: “Inequality has highly negative consequences on society as a whole, because the very fact of inequality has a corrosive, harmful effect on democracy.” Chomsky spells out his perspective regarding the modern political machine and the downfall of democracy, with a keen eye to the historical decisions and influences that have sabotaged the “common good” and shaped America’s current political, financial and social landscape.

How much do you know about what’s inside the skincare and cosmetic products you use? This is one of the main questions Toxic Beauty addresses. The award-winning documentary features a series of powerful and insightful voices, including Deane Berg, the woman who took the American multinational corporation Johnson & Johnson to court to claim its body powder was a factor in her contracting ovarian cancer. As the film progresses, it becomes more and more apparent that the beauty industry is as unhealthy as the products it creates and promotes.

It almost makes the cut at a 6.3 from IMDB, and a 65% from RT, but this documentary is fantastic. This movie looks at the hidden side of everything from grades on standardized tests to professional sumo wrestling. Using numbers and mathematics, an economist is determined to find a pattern in why things are the way they are, and how we can fix them.

While most people were aware about the devastating atomic bombs dropped on Hiroshima and Nagasaki, less people knew about the continued nuclear testing during the Cold War that occurred on American soil. Downwind shines a light on this in the usual documentary fashion, but it’s an important discussion to have, as the state government deemed nuclear testing in a cheaper place more urgent than the lives of the native Americans living near the plantation, and as the death of one of Hollywood’s leading men unable to even change this. While it was interesting to hear from Hollywood stars, Downwind works best in discussion with the Shoshone Nation, who bore the brunt of the consequences of nuclear fallout.