The Best Documentaries on Hulu Right Now

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!

Focusing squarely on two families and a select few health workers, The First Wave gets intimate access to the fears and anxieties of individuals trying to contend with the effects of the initial outbreak of the coronavirus in New York. That these characters also tend to belong to already vulnerable sectors in the United States isn’t a superfluous detail—as director Matthew Heineman illustrates (without the use of detached talking heads interviews) how proper responses to a global pandemic like this one are still hampered by capitalist interests, and racist and xenophobic institutions built into American society. All of these obstacles make every setback and every moment of progress in these characters’ lives feel absolutely crucial, making for an emotionally overwhelming experience.

Imagine a fanboy makes a film about his hero—you’d expect something mawkish and fawning, a tribute that praises the icon but sidesteps the flaws. Maybe in less expert hands, that could be the case. But despite being a longtime admirer of writer Kurt Vonnegut, Robert B. Weide’s documentary isn’t any of those things. Sure, it’s lovingly made, but it’s balanced and objective as it sketches a profile of Vonnegut not a lot of us have seen before. It’s also more than just a chronological account of his life; it’s simultaneously a film about this film, which has been in the making for 40 years, ever since Weide first met Vonnegut in 1988 and followed him through his death in 2007. At some point, their lives become tightly intertwined, and it’s impressive to see not just that friendship blossom but to watch it seamlessly fuse into the documentary. When Weide pitches the documentary to Vonnegut, he optimistically promises that it’ll be the definitive guide to his life. He’s right, it’s all that and a bit more.

Alex Honnold might not be the most relatable guy ever, but his obsession with free solo climbing and his single-minded approach to life makes him so interesting. He’s precisely the type of person that chooses to follow his goals, at the expense of everything else. To a certain extent, he has to be — without whole-hearted commitment to the sport, he could literally die. It’s no wonder someone decided to document his climb of Yosemite’s El Capitan wall—a wall that’s 3,000 feet high and hasn’t been free-climbed alone before. The journey is visually stunning and a technical marvel in and of itself. However, what’s most memorable about this film is the character study of Honnold: he has an indescribable instinct that outsiders could only call a death wish. His emotional detachment might make this a frustrating film to watch, but Free Solo serves as a unique portrait of a man who spits at the face of death.

It may not teach us anything that we don’t already know by now, but the documentary Totally Under Control—filmed in secret, in defiance of the Trump administration—still stands as a valuable historical document so that the same mistakes can be avoided in the future. Boiled down to simple terms by doctors and other experts, the film’s explanation of the United States’ failure to adequately contain their own COVID-19 outbreak is always science- and fact-oriented first. And in its own classy, level-headed way, the film emphasizes that every politician, celebrity, and media outlet has a crucial part to play in making sure nobody panics and chases any counterproductive agendas. It should be obvious by now that we’re all on the same team.

Bad Axe is an intimate documentary that follows the Sievs, a tight-knit family that runs a restaurant in the city of Bad Axe, Michigan. When the rise of COVID restrictions and racist hate groups put their business at risk, the Sievs try to hold on to each other while also carefully, in their own way, fighting back.

Mostly shot in the unforgettable year that is 2020, Bad Axe captures the fraught intensity and existential panic we all spiraled into during the global pandemic. It’s a charged film, but underneath all that buzz is a story about a family with its own tensions and histories and contradictions to deal with. Bad Axe is at once simple and complex, and like family, you just kind of love it, flaws and all.

Partially based on the 860-page memoir, “A White House Diary”, and on the actual audio recordings Claudia Alta Taylor Johnson made during her time as first lady, The Lady Bird Diaries is an intimate reworking of a past we still know very little about. Told from the vantage point of First Lady Johnson candidly and in detail, the audio track shapes the whole film. All the archival footage is nicely complemented by hand-drawn animations to fit the missing images, but all the visuals are always in service of the narration. In this way, the documentary becomes a piece of history and an archive in itself, its illustrative functions – a crucial storytelling tool for posteriority.

Too Funny to Fail isn’t just a documentary about funny people. It’s a documentary that’s hilarious in its own right. Director Josh Greenbaum assembles the comedic powerhouse behind the short-lived Dana Carvey Show and has them recall the idiosyncratic, subversive skits they did on the show. They are, of course, naturally funny, but it’s the questions Greenbaum asks them off-cam, the clips he shows, and the titles he picks for them (Bill Hader, as a fan who used to watch the show in lieu of going to classes, is stuck with “once skipped school”) that gives the documentary its own comedic signature. The spectacular failure of The Dana Carvey Show is also an inspirational story of sorts, given the astronomical success its staff and cast have and are continuing to enjoy since its cancellation.

Feminism has made plenty of strides in multiple areas, but even in the era of free love, talking about sex was difficult, and certain figures were dismissed just because of it. The Disappearance of Shere Hite reexamines the titular forgotten feminist figure that simply focused on the female orgasm, giving a second look at her immediate rise and fall in the American media, and the reasons for her leaving the country. With Dakota Johnson’s soft voice, an excellent selection of archival footage, and Hite’s deeply personal words, the film paints a portrait of a mild-mannered, self-possessed woman, but it also reveals the heartbreakingly repetitive vitriol that affects these open discussions today.