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Deadline / Every Contact Leaves a Trace

DC/DOX To Host World Premieres Of Rory Kennedy’s Boeing Expose Follow Up, Marilyn Ness Documentary And More

https://deadline.com/2026/05/2026-dc-dox-lineup-1236882581/

Features

AANIKOOBIJIGAN [ANCESTOR/GREAT-GRANDPARENT/GREAT-GRANDCHILD]: DIRS Adam Khalil and Zack Khalil. PRODS Steve Holmgren, Adam Khalil, Zack Khalil, Grace Remington, and Jacque Clark. USA.

Trapped in museum archives, Ancestors bend time and space to find their way home. History, spirituality, and the law collide as tribal repatriation specialists fight to return and rebury Indigenous human remains, revealing the still-pervasive worldviews that justified their collection in the first place.

ADAM’S APPLE: DIR Amy Jenkins. PRODS Brit Fryer and Amy Jenkins. USA.

A transgender teen and his mother chronicle their lives, weaving an intimate portrait of a family in transition. Two decades of footage trace a boy’s path to manhood and his parents’ vulnerability as they reckon with change.

AI: PROBABLY NOTHING TO WORRY ABOUT: DIR Nick Holt. PRODS David Glover, Mark Raphael, David Dugan, and Zara Powell. United Kingdom.

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As artificial intelligence accelerates a new technological arms race, the scientist whose breakthrough made it possible begins to question what he has unleashed. AI: PROBABLY NOTHING TO WORRY ABOUT is a gripping look at the race to build thinking machines — and the growing fear that they may outpace us all.

AMAZING LIVE SEA MONKEYS: DIRS Mark Becker and Aaron Schock. PRODS Mark Becker and Aaron Schock. USA.

From her crumbling estate on the Potomac River, Yolanda Signorelli battles to wrest control of her late husband Harold’s iconic toy, AMAZING LIVE SEA-MONKEYS!, from the corporate men she insists stole it from her — and to rescue it from the stain of her husband’s dark legacy.

AMAZOMANIA: DIR Nathan Grossman. Sweden, Denmark, France.

When the footage from a celebrated 1996 first-contact expedition in the Amazon resurfaces decades later, a triumphant story of discovery unravels into a reckoning with colonialism, documentary ethics, and the lasting impact on the Korubo people.

North American Premiere.

AMERICAN DOCTOR: DIR Poh Si Teng. PRODS Poh Si Teng, Kirstine Barfod, and Reem Haddad. USA, Palestine State, Malaysia, Denmark, Qatar.

When three American doctors—Palestinian, Jewish, and Zoroastrian—enter Gaza to save lives, they find themselves caught between medicine and politics, risking everything to expose the truth.

AMERICAN PACHUCO: THE LEGEND OF LUIS VALDEZ: DIR David Alvarado. PRODS David Alvarado, Lauren DeFilippo, Everett Katigbak, and Amanda Pollak. USA.

Against political resistance and industry skepticism, Luis Valdez pushes Chicano storytelling from the fields to the film screen with Zoot Suit and La Bamba, crafting iconic works that challenge, celebrate, and expand America’s story.

BABY/GIRLS: DIRS Jackie Jesko and Alyse Walsh. PRODS Melissa Leardi, Alex Waterfield, and Kelly Rohrbach Walton. USA.

Set in post-Dobbs Arkansas, BABY/GIRLS follows three teens living in a Christian maternity home as they navigate pregnancy and early motherhood—an intimate, unfiltered look at girlhood and motherhood colliding in the American South.

BARBARA FOREVER: DIR Brydie O’Connor. PRODS Elijah Stevens, Brydie O’Connor, and Claire Edelman. USA.

A dreamlike portrait of the life, work, and legacy of a pioneering feminist experimental filmmaker whose work helped shape early lesbian cinema. Tracing her prolific canon alongside rarely seen documentation of her life and body, the film reveals her unconventional attempts to live on—most notably through the extensive archiving of her films.

THE BEND IN THE RIVER: DIR Robb Moss. PRODS Lisa Remington and Kristin Feeley. USA.

Following a group of friends for nearly fifty years, THE BEND IN THE RIVER explores the inexorable flow of aging and the unfinished project of living.

BIRDS OF WAR: DIRS Janay Boulos and Abd Alkader Habak. PROD Sonja Henrici. United Kingdom.

From besieged Aleppo to the confines of a London newsroom, Lebanese journalist Janay Boulos and Syrian activist/cameraman Abd Alkader Habak retrace their love story through a vast personal archive spanning 13 years of revolution, war, and exile. Can their love survive distance, danger, and difference?

BLACK ZOMBIE: DIR Maya Annik Bedward. PRODS Kate Fraser and Hannah Donegan. Canada.

From the flickering screens of Hollywood horror to the haunted cane fields of colonial Haiti, BLACK ZOMBIE unearths the buried origins of the zombie, reclaiming it as a symbol of survival and spiritual resistance.

BUCKS HARBOR: DIR Pete Muller. PRODS Nathan Golon, Noel Paul, and Pete Muller. USA.

In Downeast Maine, boys are shaped by brutal winters, the harvesting of the ocean’s bounty, and the rigid codes of their fathers. BUCKS HARBOR explores what it means to grow up in a community where a man’s worth is measured by the strength of his back.

A CHILD OF MY OWN: DIR Maite Alberdi. PRODS Sandra Godínez, Carla González Vargas, Maximiliano Sanguine. Mexico.

Alejandra’s profound desire to become a mother—and the heartbreak and pressure that engulf her after multiple miscarriages—drive her to fake a pregnancy, unleashing a media scandal and a moral reckoning.

Courtesy of Netflix.

CLOSURE: DIR Michaƚ Marczak. PRODS Monika Braid, Michał Marczak, Rémi Grellety, Katarzyna Szczerba, and Karolina Marczak. Poland, France.

After his teenage son goes missing, Daniel combs the depths of the Vistula River day and night, caught in a grueling, endless routine and torn between the dread of a fatal leap and the fragile hope that his son may still be alive.

COOKIE QUEENS: DIR Alysa Nahmias. PRODS Gregory Kershaw, Michael Dweck, Alysa Nahmias, and Jennifer Sims. USA.

It’s Girl Scout Cookie season, and four tenacious girls strive to become top-selling “Cookie Queens,” navigating an $800 million business where innocence and ambition collide.

THE CYCLE OF LOVE: DIR Orlando von Einsiedel. PRODS Harri Grace, Chloe Leland, Karl von Schedvin, and Emelie von Schedvin. United Kingdom, Sweden.

An epic true-life journey of self-discovery, tracing the romantic odyssey of PK Mahanandia, a Delhi street artist who bicycled 6,000 miles across continents in 1977 to reunite with the woman he loved—risking everything for belief, connection, and what the heart demands.

DAUGHTERS OF THE FOREST: DIR Otilia Portillo Padua. PRODS Paula Arroio, Elena Fortes, and Otilia Portillo Padua. Mexico.

Deep in Mexico’s forests, two Indigenous mycologists seek to reconcile the past and present while reimagining the future for themselves and a changing world.

DO YOU LOVE ME: DIR Lana Daher. PRODS Films de Force Majeure and My Little Films. Lebanon, France, Qatar, Germany.

An exhilarating journey through 70 years of images and sounds from Lebanon, exploring Beirut’s collective psyche—marked by beauty, trauma, joy, and forgetting.

EARTH TO MICHAEL: DIRS Nico López-Alegría and ZZ. PRODS ZZ, Steffie van Rhee, Dustin Nakao-Haider, and Nico López-Alegría. USA.

Before an astronaut leaves Earth to usher in a new era of spaceflight, his son asks him to confront the unresolved space between them—revisiting a past shaped by distance in the hope of a more connected future.

THE ENDLESS FRONTIER: DIR Marilyn Ness. PRODS Beth Westrate and Ted Richane. USA.

An urgent portrait of three scientists confronting some of the most pressing challenges of our time, revealing the growing threat to the American research ecosystem—and what is at stake if it begins to falter.

World Premiere.

EVERY CONTACT LEAVES A TRACE: DIR Lynne Sachs. USA.

In the digital era, when real-life connections are increasingly rare, even fleeting encounters can leave a lasting trace. Over a lifetime, filmmaker Lynne Sachs has collected business cards—mementos of brief exchanges with strangers—and selects seven to uncover why these moments have lingered so vividly in her memory.

FIRST THEY CAME FOR MY COLLEGE: DIR Patrick Bresnan. PRODS Holly Herrick, Harry W. Hanbury, Patrick X. Bresnan, and Zackary Drucker. USA.

When Florida Governor Ron DeSantis stages a coup at New College, students and professors confront a new reality: their campus becomes ground zero in an unprecedented nationwide assault on academic freedom and diversity.

FREEFALL: A RECKONING FOR BOEING: DIR Rory Kennedy. PRODS Rory Kennedy, Mark Bailey, Viva Van Loock, Sara Bernstein, Justin Wilkes, and Alexandra Korba. USA.

Following the highly publicized death of Boeing whistleblower John Barnett, Rory Kennedy’s FREEFALL: A RECKONING FOR BOEING continues the investigation into the once-iconic aviation giant, uncovering startling new revelations and insider accounts in the wake of a deepening corporate crisis.

World Premiere.

Courtesy of Netflix.

THE GREAT EXPERIMENT: DIRS Stephen Maing and Eric Daniel Metzgar. PRODS Stephen Maing, Eric Daniel Metzgar, and Farihah Zaman. USA.

An epic poem in documentary form—a mirror held to an American nation at war with itself, asking not who is right, but whether the experiment can survive.

HARVEST: DIRS Natalie Baszile and Hyacinth Parker. PROD Trevite Willis. USA.

The Nelson brothers are on a mission to become the largest farmers in the U.S., but after two years of poor harvests, a new season brings as much opportunity as uncertainty. Farming more land than ever before, the brothers must work together to navigate the mounting pressures of climate change, equipment failures, and family tensions.

HELL’S ARMY: DIR Richard Rowley. PRODS Richard Rowley, Richard Butler, Atanas Georgiev, and Caitlin McNally. Norway, United Kingdom, USA.

A dissident Russian journalist faces death threats and the murder of her colleagues as she races across the globe to unmask one of the world’s most feared mercenary armies.

US Premiere.

JARIPEO: DIRS Efraín Mojica and Rebecca Zweig. PROD Sarah Strunin. Mexico, USA, France.

In Michoacán’s hypermasculine rodeos, what begins as a celebration of tradition descends into a subconscious terrain of memory, queer desire, and longing—a reckoning with the wounds and beauty of a home left behind.

JOYBUBBLES: DIR Rachael J. Morrison. PRODS Sarah Winshall, Will Butler, and Annie Marr. USA.

A boy discovers he can control the global telephone system by whistling a magic tone. Born blind and yearning for connection, his obsession sparks a subculture that helps shape the future of hacking and technology.

KIDS LIKE ME: DIRS Cynthia Lowen and Jon Cohrs. PRODS Cynthia Lowen and Jon Cohrs. USA.

Meet Oliver, a 12-year-old murder-mystery buff with a boundless imagination who is growing up with a rare genetic condition. Together with his family, he helps reframe what it means to live with disability as they embark on an imaginative adventure to create a murder-mystery caper.

THE LAKE: DIR Abby Ellis. PROD Fletcher Keyes. USA.

An environmental nuclear bomb looms in Utah. Two intrepid scientists and a political insider race against the clock to save their home from unprecedented catastrophe.

LANDSCAPES OF MEMORY: DIR Leah Galant. PRODS Elijah Stevens and Leah Galant. USA.

As she journeys through Germany, Leah Galant confronts family trauma and the legacy of Holocaust memory, weaving together the lives of a survivor’s descendant, a Nazi-descendant historian, exiled Palestinian artists, and her father’s ALS to examine the uses and abuses of memory culture.

THE LAST CRITIC: DIR Matty Wishnow. PRODS Joe Levy, Paul Lovelace, and Ben Wu. USA.

Robert Christgau, the “Dean of American Rock Critics,” whose work has inspired and infuriated readers for sixty years, is still at it in his eighties—grading records, interrogating commas, and listening to nearly everything (except metal and prog).

THE LAST FIRST: WINTER K2: DIR Amir Bar-Lev. USA.

A complex, harrowing, and deeply moving portrait of the evolving world of extreme mountain climbing, following a 2021 expedition in which Icelandic mountaineer John Snorri Sigurjónsson and Pakistani father-son team Ali and Sajid Sadpara attempt the first winter summit of K2, when the mountain is at its most unforgiving.

Courtesy of Apple Original Films.

LOS LOBOS NATIVE SONS: DIRS Doug Blush and Piero F. Giunti. PRODS Rafael Agustín, Doug Blush, Robert Corsini, Piero F. Giunti, Patricia Harris DiLeva, and Flavio Morales. USA.

Drawing on rare archival material and intimate access, LOS LOBOS NATIVE SONS chronicles the extraordinary 50-year journey of Los Lobos, revealing the music, roots, and legacy of one of America’s most enduring bands.

LOVE APPTUALLY: DIR Shalini Kantayya. PROD Elizabeth Woodward. USA, Australia.

Following a French journalist’s journey from an early fascination with Tinder to an investigation of the deeper truths embedded in its algorithm, LOVE APPTUALLY explores how a multibillion-dollar tech industry is quietly reshaping desire, intimacy, and the most fundamental of human pursuits: love.

US Premiere.

MAKING THEIR POINTE: DIR Kamilah Thurmon. USA.

During segregation, African American ballet teachers in Washington, D.C. opened doors for children in underserved communities to enter and excel in the world of classical ballet, creating a legacy that continues across generations.

Screening as part of DC/FRAME.

MISS REPRESENTATION: RISE UP: DIR Jennifer Siebel Newsom. PRODS Camille Servan-Schreiber, Gretchen Miller, and Jennifer Siebel Newsom. USA.

In this timely follow-up to the lauded MISS REPRESENTATION, Jennifer Siebel Newsom’s RISE UP explores the ongoing cultural backlash against women’s mental health, agency, and political power, revealing how technology amplifies sexism and misogyny.

NEWPORT & THE GREAT FOLK DREAM: DIR Robert Gordon. PRODS Joe Lauro, Robert Gordon, and Laura Jean Hocking. USA.

Through performances at the Newport Folk Festival from 1963 to 1966, NEWPORT & THE GREAT FOLK DREAM captures a generation finding its voice through the revival of American folk traditions and protest song.

THE OLDEST PERSON IN THE WORLD: DIR Sam Green. PRODS Alison Byrne Fields and Josh Penn. USA.

A decade-long global odyssey chronicles the ever-shifting record holders of the title, evolving into a poignant meditation on time, chance, and the experience of being alive.

ONE IN A MILLION: DIRS Itab Azzam and Jack MacInnes. PRODS Itab Azzam, Jack MacInnes, Will Anderson, James Bluemel, Andrew Palmer, and Raney Aronson-Rath. USA, United Kingdom.

Filmed over ten years, one girl’s epic journey unfolds from Syria to Germany and back again as she navigates war, exile, and heartbreak, illuminating the complexities of the refugee experience.

Courtesy of PBS Distribution.

PHENOMENA: DIR Josef Gatti. PRODS Rob Innes, Jessica Harrop, Caitlin Mae Burke, Jad Abumrad, and Josef Gatti. Australia.

A psychedelic odyssey into the fabric of the universe, where immersive practical experiments yield striking, otherworldly imagery that unfolds into a hypnotic audiovisual experience of awe and human connection to the natural world.

THE SALISBURY POISONINGS: A SPY NEXT DOOR: DIR Dan Vernon. PROD Alex Brisland. United Kingdom, USA.

A botched assassination in a small English city contaminated by a chemical weapon unfolds into one of the most extraordinary true spy stories of the modern era—a portrait of loyalty and betrayal with urgent relevance today.

North American Premiere.

Courtesy of CNN Films.

THE SANDBOX: DIR Kenya-Jade Pinto. PROD Shasha Nakhai. Canada.

Through meditative, cinematic landscapes, THE SANDBOX explores global borders where surveillance and AI shape who lives and who dies. From the Arizona desert to the Mediterranean Sea, suffering is clinically managed while control is packaged as security. If there is no opting out, who is The Sandbox really protecting?

US Premiere.

SCHOOL FOR DEFECTORS: DIR Jeremy Workman. PROD Sona Jo. USA.

In an industrial area of Busan, South Korea, the tiny Jangdaehyun School serves just 20 students—all North Korean defectors—offering a joyful story of youth, inspiration, and our shared humanity.

SEIZED: DIR Sharon Liese. PRODS Sharon Liese, Sasha Alpert, and Paul Matyasovsky. USA.

When the small town of Marion, Kansas, is thrust into the international spotlight after a police raid on the Marion County Record and the death of its 98-year-old co-owner, a fierce debate ignites over abuse of power, journalistic ethics, the future of local journalism, and the United States Constitution.

THE SIEGE OF PARADISE: DIR Gar O’Rourke. Ireland, Switzerland.

Every summer, nearly four million tourists—TikTokers, Instagrammers, and selfie-seekers among them—descend on Cinque Terre and its 3,000 residents. THE SIEGE OF PARADISE follows one chaotic season in a sharply funny and surprisingly tender portrait of paradise under pressure.

SOUL PATROL: DIR J.M. Harper. PRODS Sam Bisbee, J.M. Harper, Danielle Massie, Nasir Jones, and Peter Bittenbender. USA.

From deep behind enemy lines, a hidden chapter of American military history emerges, prompting the question of whether reckoning with the past can bring peace to those who lived it. The Vietnam War’s first Black special operations team reunites to tell their story.

STEALING MAGIC: DIR Matthew Testa. PRODS Ethan Smith, Melanie Miller, Diane Becker, and Randy Pitchford. USA.

Magician Andi Gladwin becomes an unlikely citizen detective, joining a team of illusionists to track down internet pirates who steal their secrets and resell them online.

SUPER NATURE: DIR Ed Sayers. PRODS Rebecca Wolff, Ed Sayers, and Beth Allan. United Kingdom.

A global love letter to nature, filmed entirely on Super 8, invites us into a spellbinding journey of togetherness with our fellow dwellers on Earth—human and nonhuman—as people embrace beauty, abundance, and loss.

US Premiere.

THEYDREAM: DIR William D. Caballero. PRODS William D. Caballero, Brad Jones, Erin Ploss-Campoamor, and Elaine Del Valle. USA.

After 20 years of chronicling his Puerto Rican family, a director and his mother face devastating losses. Through tears and laughter, they craft animations that bring their loved ones back to life, discovering that every act of creation is also an act of letting go.

TIME AND WATER: DIR Sara Dosa. PRODS Shane Boris, Elijah Stevens, Jameka Autry, and Sara Dosa. USA, Iceland.

Facing the loss of his country’s glaciers and the impending death of his beloved grandparents, Icelandic writer Andri Snær Magnason turns his archives into a time capsule to hold what is slipping away—family, memory, time, and water.

Courtesy of National Geographic Documentary Films.

TIME WARP: DIR Allison Berg. USA.

Fifty years after THE ROCKY HORROR PICTURE SHOW electrified the world, a fearless dreamer sets out to bring its message of personal expression and sexual freedom to a small town in Wyoming.

TO HOLD A MOUNTAIN: DIRS Biljana Tutorov and Petar Glomazić. PRODS Biljana Tutorov, Petar Glomazić, Quentin Laurent, and Rok Biček. Serbia, France, Montenegro, Slovenia.

In the highlands of Montenegro, a shepherd mother and daughter defend their ancestral land from becoming a NATO military training ground, stirring memories of past violence.

TRUE NORTH: DIR Michèle Stephenson. PROD Leslie Norville. USA, Canada.

A riveting portrait of 1960s Montréal, where luminous archival footage and firsthand accounts bring a city in upheaval to life, revealing a defining moment in the global movement for Black liberation.

TWO MOUNTAINS WEIGHING DOWN MY CHEST: DIR Viv Li. PRODS Daniela Dietrich, Erik Winker, and Olivia Sophie van Leeuwen. Germany.

A Chinese misfit ricochets between Berlin’s alternative scene and Beijing’s family expectations, transforming cultural whiplash into an offbeat search for identity and belonging.

WHEN A WITNESS RECANTS: DIR Dawn Porter. PRODS Dawn Porter, Jennifer Oko, and Miriam Weintraub. USA.

In 1983, author Ta-Nehisi Coates recalls learning that a 14-year-old boy was murdered in the corridor of his Baltimore middle school. Revisiting the case as an adult, he uncovers the truth about three teenagers who were wrongfully convicted and sentenced to life. After 36 years in prison, false testimony is revealed to have led to their imprisonment. WHEN A WITNESS RECANTS explores the lasting impact of the case on the community, the wrongfully accused, and the young witnesses pressured to testify against them.

Courtesy of HBO Documentary Films.

WHO KILLED ALEX ODEH?: DIRS Jason Osder and William Lafi Youmans. PRODS Dawne Langford, Daniel J. Chalfen, Jason Osder, and William Lafi Youmans. USA.

In 1985, the assassination of Palestinian American leader Alex Odeh remains unsolved. Reopening the case as a gripping cold-case investigation, the film follows new leads as the search for accountability intensifies.

THE WHOLE WORLD IS A LIE: DIR Charlie Birns. PRODS Charlie Birns. USA.

A New York method acting class unravels when its students and teacher revolt against the filmmaker, forcing him into a reckoning with truth, trauma, and power in an age when reality itself feels like performance.

YO (LOVE IS A REBELLIOUS BIRD): DIRS Anna Fitch and Banker White. PRODS Anna Fitch, Banker White, Sara Dosa, and Hannah Roodman. USA.

After losing her friend Yo, Anna spends a decade obsessively building a detailed one-third-scale replica of her house — just large enough to crawl inside — where a puppet version of Yo still lives.

Shorts

9,192,631,770 HZ: DIR Todd Chandler. PRODS Heidi Fleisher, Mike Paterson, and Nora Wilkinson. USA.

In conversation with his young son, a filmmaker reflects on time — our attempts to control it, and the ways it shapes human experience.

AND AGAIN I DREAM: DIRS Catherine Gund and Mariah Norman. PROD Catherine Gund. USA.

As Ivy Young nears the end of her life, her lifelong friend Catherine and her young protégé Mariah come together to preserve the story of a beloved journalist and organizer whose legacy bridges queer generations through memory, activism, and love.

AT THE STAGE WHEN: DIR Hao Zhou. PRODS Tyler Hill and Hao Zhou. USA, China.

In a Chinese megacity, a young laborer navigates her marriage to a well-off man and finds herself bound to an unintended future.

THE BADDEST SPEECHWRITER OF ALL: DIRS Ben Proudfoot and Stephen Curry. PRODS Stephen Curry, Erick Peyton, and Ben Proudfoot. USA.

Now 95, Martin Luther King Jr.’s lawyer and speechwriter reflects on the personal cost and surprising truths of making history, offering an intimate insider’s view of the Civil Rights Movement.

Courtesy of Netflix.

BIG BASS: DIR Drew Dickler. PRODS Nikki F. Heyman, Jennie Kamin, and David Sherwin. USA.

Drew returns to 1997 to revisit a dreamlike second-grade memory shaped by her emerging queer identity, a legendary P.E. teacher, and a mysterious giant plastic fish.

THE BOYS AND THE BEES: DIR Arielle Knight. PROD Arielle Knight. USA.

On an idyllic farm in rural Georgia, young parents share their understanding of life, love, and nature with their sons, teaching them the art of beekeeping.

Courtesy of POV.

BUCKSKIN: DIR Mars Verrone. PROD Mars Verrone. USA.

An experimental portrait of the filmmaker’s grandfather: Carroll B. Williams Jr., a ground-breaking African-American forester, reflecting on his work and legacy in the twilight of his life.

CHILAPA GIRL: DIR Juana Lotero López. PRODS Daniel Sánchez and Juana Lotero López. Colombia.

Yulieth, on the cusp of adolescence, faces the difficulties of growing up in a wild territory where natural beauty coexists with the hostility of machismo. Her emerging identity is caught between the pull of her dreams and the realities of her world.

CHOCOLATE: A MOTION POETRY HOMAGE TO BLACK D.C.: DIR Eliamani Ismail. PROD Gyzelle Garcia. USA.

In the nation’s fastest-gentrifying city, Black DC refuses quiet erasure.

Screening as part of DC/FRAME.

THE CUSTODIAN: DIR  Khaula Malik. PRODS Amber Hsu, Colleen Thurston, and Khaula Malik. USA.

After more than five decades collecting rare and vintage memorabilia dating back to 1932, Samu Qureshi, a devoted Washington Commanders superfan, believes he is finally ready to part with his collection — hoping to sell it to team ownership and help establish a museum and hall of fame.

World Premiere.

THE DARK KNOT AT THE CENTER: DIR Inês Pedrosa e Melo. PRODS André Guiomar, Carlos Carneiro, and Luís Costa. Portugal, USA.

Women travel hundreds of miles for abortion care, recounting the barriers they face and the lasting toll of a system that forces them to the margins.

A DERAILMENT: DIR Nathan Truesdell. PRODS Kat Nguyen and Will Lennon. USA.

At 8:55 PM on February 3, 2023, a freight train carrying hazardous materials derailed in East Palestine, Ohio.

DIVISION: DIR James Paul Dallas. PRODS James Paul Dallas and Eryc Perez de Tagle. USA.

Spring, 2025. Brooklyn, New York. One chapter closes and another begins.

ENDLINGS: DIR María Luisa Santos. PROD Carlo Nasisse. USA, Costa Rica.

Amid the planet’s first human-driven mass extinction, a filmmaker moves through churches, ancient DNA labs, and spectral archives in search of what remains—and what can never be recovered.

FILME-COPACABANA: DIR Sofia Leão. PRODS Laura Neiva, Leonardo Martinelli, Rafael Lopes Cesar, and Sofia Leão. Brazil.

From a chair on a Rio sidewalk, a woman observes the passing choreography of Copacabana. Workers, tourists, dogs, and daily street life come together through playful montage to create a vibrant portrait of the neighborhood.

US Premiere.

FINAL PRESS: DIR John Haley. USA.

Workers at The Minnesota Star Tribune complete the last printing run at the newspaper’s Heritage Center, ending 150 years of printing the paper in Minnesota.

World Premiere.

FLETCHER STREET: DIR Jannat Gargi and David Darg. PROD Jannat Gargi. USA.

In North Philadelphia, the Fletcher Street Urban Riding Club offers a vital safe haven for at-risk youth. Their joy and sense of freedom as they ride horses majestically through the streets of their neighborhood is as affirming as the trust, discipline, and emotional resilience they build through their close bonds with the horses.

GATORVILLE: DIR Freddie Gluck. PRODS Chloe Campion, Freddie Gluck, and Matteo Moretti. USA.

In Colorado’s forgotten valley, two siblings face alligators and the ache of leaving youth behind.

GHOST LANDS: DIR Zachary Garmoe. USA.

Following the marshes and forests of the Delmarva Peninsula in the footsteps of Harriet Tubman, GHOST LANDS explores how the natural landscapes that shaped her life continue to hold the memory of freedom, resistance, and our shared past.

THE GRANDFATHER PUZZLE: DIR Ora DeKornfeld. PRODS Zsófia Paczolay, Máté Artur Vincze, and Noémi Veronika Szakonyi. USA.

When a puzzle-obsessed grandfather refuses to discuss his past, his granddaughter travels to photograph the Hungarian castle where he grew up and turn it into a puzzle. What begins as a simple mission becomes a darkly comic exploration of displacement, memory, and the meaning of home.

GRAZING ON IMAGES: DIR Mark Street. USA.

A diaristic journey shot on 35mm still film and Super 8 travels, tracing a life shaped by the rhapsodic beauty of everyday images.

World Premiere.

THE HOTLINE: DIRS Ricki Stern and Jesse Sweet. PROD Ricki Stern. USA.

A haunting, meditative portrait of opioid users connected through an anonymous phone line, THE HOTLINE reveals a fragile tether between life and death.

I WANTED TO HEAR YOUR VOICE: DIR James Pellerito. PROD David Barba. USA.

After eight years caring for his mother with severe dementia, a son navigates the challenges of their daily routine.

JACOB KAINEN: THE LAST EXPRESSION: DIR Mark Covino. PROD Jon Gann. USA.

From tenement kid to towering figure in Washington, DC’s art world, JACOB KAINEN: THE LAST EXPRESSION traces Jacob Kainen’s seven-decade journey through American art as a story of creative defiance.

Screening as part of DC/FRAME.

JOURNEY(S): ADDIS TO DC: DIR Saaret E. Yoseph. PROD Saaret E. Yoseph. USA, Ethiopia.

A narrative journey between two distant sister cities, JOURNEY(S): ADDIS TO DC traces the lives of Ethiopian women in America and Black women across the diaspora, weaving together memory, migration, and the search for home.

Screening as part of DC/FRAME.

KITE: DIR Thanos Psichogios. PROD Thanos Psichogios. Greece.

On Clean Monday, the first day of Lent in Greece, Panos, now grown, returns to a childhood ritual of flying a kite with his father. But memories are never simple.

KOKI, CIAO: DIR Quenton Miller. Netherlands.

The autobiography of Koki, the parrot of Marshal Tito, who led Yugoslavia for 35 years.

LA MAR: DIR Jean Chapiro. PROD Jean Chapiro. Mexico.

As the ocean swallows her fishing village on Mexico’s Gulf Coast, one woman leads the effort to relocate her community while struggling to let go of the sea that shaped her life.

LISTEN: DIR Taliesin Black-Brown. PRODS Taliesin Black-Brown, Sam Davis, and Greg Moga. USA.

As his mother slips away into dementia, an Alaskan sound recordist listens for what remains.

NOTES ON COURTWATCH: DIR Kate Levy. USA.

“Courtwatchers” attend immigration court to bear witness and support asylum seekers facing the risk of ICE detention at their hearings.

World Premiere.

OH WHALE: DIR Winslow Crane-Murdoch. PRODS Luke Terrell, Cecilia Brown, and Rachel Gardell. USA.

One man. One Whale. Twenty cases of dynamite.

PEDRO TOMÁS EXPLAINS THE WORLD: DIR Kornelijus Stučkus. PRODS Liliana Díaz Castillo, Marc Vila Bosch, and Paulina Martinez. Spain.

On the volcanic island of La Palma lives Pedro Tomás, a man who explores the world through his unique vision.

PLANT LIFE: DIRS Brett Marty and Joshua Izenberg. PRODS. USA.

At a pivotal moment in her life and career, Joanne Chory races to complete her most audacious experiment yet: re-engineering crops to draw down CO₂ at planetary scale. As her Parkinson’s advances and carbon levels surge, PLANT LIFE captures a scientific race against time that may determine both her legacy — and our collective future.

PLUMPED: DIRS Nora DeLigter and Faye Tsakas. PRODS. USA.

Inspired by GAP-TOOTHED WOMEN by Les Blank, women speak candidly about their experiences with lip filler, exploring beauty, identity, and the pressures of self-image.

World Premiere.

Courtesy of Rolling Stone.

A QUIET STORM: DIR Benjamin Nicolas. PROD Rumi Tominaga. Canada, Japan.

In suburban Tokyo, a fourteen-year-old krump prodigy channels his unspoken rage into dance while his single mother quietly raises him and his sister, who lives with a disability. In a culture that demands silence and conformity, her endurance becomes the loudest act of love, and his body becomes the only language left.

ROOM OF THE ABSOLUTE: DIRS Natalie Shirinian and Elizabeth Baudouin. PRODS Natalie Shirinian, Elizabeth Baudouin, and Alla Hurenko. USA.

Ukrainian painter Alla Hurenko (known as Pazza Pennello) captures an intimate, diaristic portrait of life under war through her iPhone, where art becomes a powerful act of resilience and self-preservation.

THE SECOND LIFE OF FREDDIE NOLE: DIR Dana Nachman. PRODS Chelsea Matter and Dana Nachman. USA.

When Freddie Nole drives to meet a man walking out of prison, he is not just offering a ride, but hope, dignity, and a path to lasting freedom. As this vérité road trip unfolds, the remarkable story behind Freddie’s mission comes into focus: a staggering mistake that cost him 50 years of freedom and ultimately brought him back to the prison gates.

SCENES FROM THE DIVIDE: DIR  Alison Klayman. PRODS Alison Klayman and Courtney Powell. USA.

Set against the contentious mayoral campaign of Zohran Mamdani, SCENES FROM THE DIVIDE follows one daughter and her parents, alongside other New Yorkers, as divisions over Palestine expose deeper fractures within Jewish communal life. Through intimate family and community conversations, the film reveals a struggle over identity, history, and belonging.

SEA SONG: DIR An-Phuong Ly. USA.

The last remaining South Vietnamese naval officers reunite one final time with the few people who understand the forces that have shaped their lives.

SHEESH, A TAYLOR LOVE STORY: DIR Ramona Diaz. PROD Diane Quon. USA.

In a country where drag is both art and survival, Taylor Sheesh transforms Taylor Swift fandom into a movement of joy, belonging, self-expression, and empowerment — revealing the power of queer performance to help people feel seen, beautiful, and free in a region still fighting for equality.

World Premiere.

STALIN BOYS: DIRS Ora DeKornfeld and Bianca Giaever. USA.

Four middle school boys in a Texas border town develop an unexpected obsession: Joseph Stalin.

STILL STANDING: DIR Victor Tadashi Suarez and Livia Albeck-Ripka. PRODS Livia Albeck-Ripka and Victor Tadashi Suarez. USA.

After the 2025 Los Angeles wildfires leave thousands of homes contaminated with toxic ash, residents face an impossible choice: protect their health or return home.

SUDAKAS: DIR Ricardo Betancourt. PRODS Lorraine Caffery. Venezuela.

A former Venezuelan diplomat now working as a housekeeper in the same city where she once served confronts the realities of immigration, labor, and reinvention.

TOSS A ROSE OVER: DIR Janelle VanderKelen. USA.

A travelogue from the vantage point of the plants of the Grand Canyon.

World Premiere.

THE TUNERS: DIR Pawel Piotr Chorzepa. Poland.

In the shadows of the world’s most prestigious piano competition, a group of expert tuners spend a month striving to achieve perfect pitch—hoping that the eventual champion will perform on their instrument.

North American Premiere.

WATER COOLER: DIR Emma V.F.. USA.

The Trump administration has transformed immigration courts into deportation traps. As ICE agents wait outside courtrooms to make arrests, their banal conversations stand in stark contrast to the gravity of their actions.

WEIRDO: DIR Amy Oden. PROD Amy Oden. USA.

In the summer before she starts high school, Bronwyn discusses what it’s like to feel weird in two very different towns.

WHEN THE REVOLUTION DOESN’T COME: DIR Aurora Brachman. PROD LaTajh Simmons-Weaver. USA, United Kingdom.

They are the children of the Black Panther Party — the self-styled Panther Cubs — born into a revolutionary movement for Black equality and self-determination, and now reckoning with the pride, loss, and unfinished promise of that legacy fifty years later.

Courtesy of The Guardian.

WOMEN LAUGHING: DIRS Kathleen Hughes and Liza Donnelly. PRODS Judith Mizrachy, Liza Donnelly, and Nathalie Seaver. USA.

New Yorker cartoonist Liza Donnelly talks, draws, and laughs with some of the most celebrated and groundbreaking cartoonists at the iconic magazine as they reflect on the essential work of women cartoonists today and over the last century.

Courtesy of Conde Nast / The New Yorker.

Frederick Wiseman Retrospective

HOSPITAL (1969): DIR Frederick Wiseman. USA.

Through the daily rhythms of an urban hospital’s emergency ward and clinics, HOSPITAL reveals the intricate systems, urgent decisions, and human encounters at the heart of modern medicine.

JUVENILE COURT (1973): DIR Frederick Wiseman. USA.

Set inside the Memphis juvenile justice system, JUVENILE COURT observes the difficult cases and impossible choices at the intersection of punishment, protection, and rehabilitation.

WELFARE (1975): DIR Frederick Wiseman. USA.

Inside a New York City welfare office, WELFARE reveals the human struggles, bureaucratic barriers, and impossible choices at the heart of the social safety net.

Every Contact Leaves a Trace with Grazing on Images / National Gallery of Art

Sunday, June 14, 2026 | 11:00 a.m. – 1:00 p.m.

https://www.nga.gov/calendar/every-contact-leaves-trace-grazing-images

Join us for a post-screening discussion with filmmakers Lynne Sachs and Mark Street, in person. 

Lynne Sachs lived most of her life before laptops reshaped how people connect. She has saved every business card she has ever been given. Each card is a portal to her past, a reminder of how someone she met in person shifted her consciousness and left a trace of their presence: a German woman grappling with her country’s history, a therapist who erased all records of her own life, or an artist confronting government censorship. In Every Contact Leaves a Trace, Sachs selects seven cards from hundreds and sets out to uncover how and why they have endured. When possible, she follows these traces, seeking out reunions. Blending the real and the imagined, her essay film teases apart nearly forgotten resonances, intertwining personal memory with broader geopolitical histories. (Lynne Sachs, 2025, DCP, 83 minutes)

Preceded by the North American premiere of Grazing on Images. Filmed on 35mm analog still film and Super 8, Grazing on Images is a diaristic work that travels from Dublin to Los Angeles, Oklahoma City, and Beloit, Wisconsin, before returning to the filmmaker’s home base in Brooklyn to reflect on a life shaped by rhapsodic, everyday images. (Mark Street, 2025, DCP, 17 minutes)

This program is presented in partnership with the DC/DOX 2026 film festival.

STANDARD (NORMAL) DISTRIBUTION

As part of the event, we are screening three films from the respective collections in an effort to map the (recent) history of experimental film culture: Vidofreex’s “What’s That For?”; Jaime Davidovich’s “Adventures of the Avant-Garde”; and Lynne Sachs’s  “Swerve.”

Join us at Millennium Film Workshop on Friday, May 22, for Standard Normal Distribution, a panel discussion exploring the challenges of artists’ film and video distribution in 2026 and beyond. Organized in collaboration with the Millennium Film Journal, we are honored to welcome Rebecca Cleman of Electronic Arts Intermix (EAI, NYC), Matt McKinzie of The Film-makers’ Cooperative/New American Cinema Group (FMC, NYC), and Emily Martin of Video Data Bank (VDB, Chicago, IL), appearing in conversation with Joe Wakeman (MFW) and Nicholas Gamso (MFJ). 

Interest in experimental cinema has surged in recent years, with sold-out screenings, a bounty of new publications, platforms, and festivals, and artists of all backgrounds turning to film to reach broader audiences. At the same time, the field of artists’ film and video distribution has faced severe shocks, from funding cuts and rising costs to the pressures of digital piracy. The moment is right to strategize methods of supporting our community for years to come. We envision a rich discussion, not just about the current state of artist film distribution but its potential futures, asking questions such as: 

What would a more equitable and participatory kind of artist cinema look like?

How might we  expand on creative models, past and present, for programming, distributing, and screening artists’ films?

Can we secure fair remuneration for artists and cinema workers while rethinking—even dismantling—the structures of visibility, prestige, and (in)accessibility that still characterize our field?

The transcript from this live event will appear in part two of MFJ’s yearlong study of Circulation.   

We invite you to be a part of this important conversation, Friday, May 22, 7:30 PM at Millennium Film Workshop, 167 Wilson Ave, Brooklyn NY.

Mystery Catalog / Every Contact Leaves a Trace

https://mysterycatalog.com/2026/04/every-contact-leaves-a-trace-at-anthology-film-archives-may-3/
April 29, 2026
By Herbert Gambill

Brooklyn documentary filmmaker Lynne Sachs is the recipient of the POV Award at the San Francisco Film Festival on April 29. The festival will be screening her latest film, “Every Contact Leaves a Trace.” Go here for more information. On May 3 the film will also be shown at NYC’s Anthology Film Archives.

Sachs has a collection of 600 business cards and decides to choose seven of them and attempt to reconnect with the persons who gave them to her. (Her ramblings while searching for candidates–”Oh, she won’t talk to me!”–is one of the most amusing parts of the film.) She says the premise is a foundation of forensic science invented by Edmond Locard, a forensic pioneer: any trace can link a person to a place, another person or an object. She even has a scientist analyze the cards for fingerprints and DNA. (This doesn’t reveal much.)

In her director’s statement, Sachs reports that “Chance meetings become distinct and revealing punctums, each physical interaction an encounter that pricks.” Punctum was a concept Roland Barthes created for his 1980 book on photography “Camera Lucida.” He distinguished between the “studium” of a photo (the obvious symbolic content of the photo) and its “punctum” (something, perhaps incidental, that “pierces” the viewer in a person way). In her usual technique of hybrid filmmaking, she comes up with a different way to model her interactions with the seven contacts.

One of the most unsettling contacts for her is Lawrence Brose, an experimental film artist whose films explored his gay sexuality, especially his feature-length film “De Profundis,” a hand-etched film inspired by Oscar Wilde’s 1887 letter to his lover from prison. Brose reveals to Sachs that he was charged with having child pornography and she wonders if she should cut him from the film only to learn later that he was innocent: a member of his art collective had downloaded the material and yet he was charged and his lawyer advised him to take a plea deal rather than to go to court.

Sachs met two of the contacts via her presence at various international film festivals over the years. Angela Haardt is a German avant-garde film artist who was born in 1940 and recalls her memories of Nazi Germany, including the continued popularity of 19th century German poet Heinrich Heine, whose work was banned by the Nazis. This prompts Lynne, who is Jewish, to think about the genocide in Gaza.  Jiang Juan, a champion of films by women in China, lives with the director for awhile; Sachs uses striking split screen footage of her to illustrate her perception of her in the past and the present.

Betty Leacraft is a textile artist who lives in Philadelphia. She gently tutors the filmmaker in needlepoint, demonstrating her own method of tying off thread. Actress Rae C. Wright is employed to play a former therapist of Sachs whose advice surprised her. Lynne interviews her niece and nephew (children of her brother, filmmaker Ira Sachs) about her project. They offer her whimsical takes from a younger generation.

Sachs created a way to diagram her interaction with her contacts with white markings on a black background. (It looks a bit like football play diagrams.) One wonders how the film would differ had she chosen other business cards, which makes “Every Contact Leaves a Trace” what Barthes called a “writerly” text, one that forces the viewer to engage actively with the work. You may even want to go to your own collection of business cards and create your own series of experiments. Featuring a great soundtrack by Stephen Vitiello and lovely animation, Lynne Sachs’ latest film is another wonderful addition to her long body of perceptive, funny and warm feminist-informed explorations of creativity, memory, seriality and politics.

Go here to listen to Adam Schartoff’s interview with Sachs about this film.

Experiments in Cinema v21.5 / The Washing Society

https://www.experimentsincinema.org/eic-21-5

https://www.experimentsincinema.org/eic-21-5?pgid=movp2q1a-74c9cdfe-e889-4ce0-b2d1-43c6ca3f0f6a

The Washing Society

by Lynne Sachs/Lizzie Olesker, 65:00, 2018, US. When you drop off a bag of dirty laundry, who’s doing the washing and folding? The Washing Society brings us into New York City laundromats and the experiences of the people who work there by observing these disappearing neighborhood spaces and the continual, intimate labor that happens there. The juxtaposition of narrative and documentary elements in The Washing Society creates a dream-like, yet hyper-real portrayal of a day in the life of a laundry worker, both past and present.

Screen Slate / Every Contact Leaves a Trace

April 24th 2026
By Delaney Holton
https://www.screenslate.com/articles/every-contact-leaves-trace

Lynne Sachs’s new film Every Contact Leaves a Trace (2025) begins from a pun on Locard’s Exchange Principle: the forensic axiom that each encounter between people or objects deposits a material residue. Sachs turns the principle inward, toward the sedimented matter of a life lived among others: some 600 business cards accumulated over four decades, a paper archive indexing the chance encounters and professional exchanges of an illustrious career. The film appropriately screens on the occasion of Sachs’s Persistence of Vision Award from SFFILM, which recognizes her career in experimental documentary filmmaking.

As Sachs sifts through the stacks, narrating associations or confronting blank spots in her recollection, the cards’ standardized form gives way to the unruliness of relation. Sachs layers a restless flow of images, animations, and superimpositions over a diaristic voiceover, while frequent collaborator Stephen Vitiello’s omnipresent score hums beneath. She stages new encounters with select figures represented in her collection: a textile artist, a therapist, a refugee and mother who once cooked for her. Conversations always seem to turn toward days gone by, though the governing insight is less about recovering evidence of what “really” happened than observing how the past is continually remediated through its recounting and the subtle gravity people exert upon one another’s lives across space and time. At intervals, Sachs extends the interpersonal scale of her inquiry into a more expansive awareness. 

While speaking to the woman who cuts her hair or searching for someone to make her maqluba, she holds Ukraine and Gaza on her mind. As she thinks of previous mistakes, of her ambivalent German-Jewish heritage, or her complicity in historical and current violence while living within the imperial core, her on-screen interlocutors serve as mirrors into her own wandering mind, a gesture toward entanglement reminiscent of Chris Marker’s reflexive Sans Soleil (1983). The “trace,” the film suggests, marks both the fact of contact and the asymmetries that shape it. At the same time, these traces may falter in their own ways, as they fail to hold the fullness of what passes between people. What constitutes intimacy? What does it mean to know someone? Closeness doesn’t necessarily produce understanding or solidarity. It can generate hostility or leave damage. With Sachs, we learn that to be in relation is to come to terms with one’s capacity to do harm and to accept that we might leave imprints that elude our awareness entirely. If Sachs begins from the business cards as her archive of traces, then, by the end she relinquishes the thinness of their description to the irreducible complexity of the people and relationships they represent.

Every Contact Leaves a Trace screens Saturday, May 9, presented by Other Cinema at Artists’s Television Access, with Lynne Sachs in person.

Previously:

Every Contact Leaves a Trace screens Wednesday, April 29, at BAMPFA, with Lynne Sachs in person to receive SFFILM’s Persistence of Vision award.

City Shorts XXV / City College of San Francisco

City Shorts is an annual festival presented by the CCSF Cinema Department. Each year, the festival highlights the best narrative, documentary, and experimental student films produced in the Cinema Department at CCSF. City Shorts stands out as one of the most unique film festivals in the Bay Area due to its being entirely produced and curated by students in the Cinema Department.

https://www.ccsf.edu/academics/schools/school-arts-communication-and-languages/cinema-department/city-shorts-film-festival

“Big thanks to Cinema Department faculty and staff for supporting our students and to all student filmmakers who submitted work this year, the festival had over 70 entries. A huge thank you to Student Festival Producer Laura Cohen who organized and managed this year’s Student Jury that spent Friday March 27th prescreening all festival submissions.”

Congratulations to this year’s programmed filmmakers!

1408 by Derek Magsany

Early Autumn by Siyang Chen

artist’s proof (A/P) by Becky Cornwell

PRELINGER LIBRARY by Melis Gullu 

In & Out of the Wig by Uel RENTERIA 

“moves” by Efrain Gutierrez, James Seo, Shirin, Adi Rao

Invisible Jet Comics by Rowel Factor 

Autumn by Brynn Casto 

SASHAY BLACK by Isela Abarca 

Boxed In by Monte Mishkin 

BACKSTAGE by Allen White 

Leaf Lessons by Bryan Gordon, Ayani Hayashi, Jodie Tarpo, June Yee

Crossing Grant by Luciana Terrazas 

Wooden Film by Jan de Groot 

Addie by Antonina Soloveva 

City Shorts XXV Industry Jury

Films advanced by the Student Jury were reviewed and discussed by a stellar cast of industry professionals:

Gina Basso (programmer, formerly of SFMOMA’s film program)

Yule Caise (filmmaker, producer)

Toney Merritt (filmmaker, former CCSF Cinema faculty)

Lynne Sachs (filmmaker)

Jeff Ross (filmmaker, founder of SF Indiefest)

Lex Sloan (Executive Director of the Roxie Theater, former CCSF Cinema student)

Cinemafile Podcast / Every Contact Leaves a Trace

April 13, 2026

EVERY CONTACT LEAVES A TRACE is a thought provoking overview of our digital era. We mostly live in a time and place where real life connections become rarer, yet any personal encounter can leave a lingering trace. Over a lifetime, filmmaker Lynne Sachs has collected business cards, mementos of these initial meetings with strangers. Sachs selects seven cards from hundreds and throws herself into finding out how and why these brief yet vivid moments left an imprint on her consciousness. When she is able, she embraces clues and seeks out reunions. But when there is no trace, she gambles with imaginary histories and futures. A lifetime of tactile, face-to-face encounters reminds her of identities passed from hand to hand. Director Lynne Sachs joins us to talk about her imaginative hybrid film, that draws inspiration from a basic principle of forensic science, coined by Edmond Locard, a pioneer in the field that any trace can link a person to a place, another person or an object.

Screen Anarchy / Every Contact Leaves a Trace

San Francisco 2026 Review: EVERY CONTACT LEAVES A TRACE, Poignant, Thoughtful Cine-Essay

Mel Valentin, Lead Critic; San Francisco, California

https://screenanarchy.com/amp/2026/05/san-francisco-2026-review-every-contact-leaves-a-trace-poignant-thoughtful-cine-essay.html

May 14 2026, 11:02 AM

The latest project by filmmaker Lynne Sachs (Drift and Bough, The Washing Society, Film About a Father Who) opens with a quote from the French-born father of 20th-century forensic science, Dr. Edmond Locard: “Every contact leaves a trace.”

The basis for “Locard’s Exchange Principle,” it also doubles as the title of Sachs’ documentary, a deeply personal cine-essay.

With more time behind her than in front of her, a meditative Sachs uncovered a box of 600 business cards dating back to 1990 and the fall of the Berlin Wall. As a young woman and burgeoning filmmaker, Sachs met Angela Haardt, a Berlin resident, a founding member of the International Forum of the Film Avant-Garde, and the director of a shorts festival (1990-1997) where Sachs placed an early short film of hers. Her new film combines archival footage, reminiscences about post-war Germany, and its place in the Jewish-American imagination (more positive than negative for Sachs, the opposite understandably so for her mother)

Decades later, Haardt welcomes Sachs both as an equal and a long-lost friend. Looking back at their initial meeting, the intervening time, and the present, Haardt grapples with German history, identity, and culture, specifically how, when, and where Germans commemorate the Holocaust or deliberately forget it. It’s a tragedy that Sachs connects to her own conflicted, contradictory feelings about Israel, Gaza, and Israel’s initially defensive response to the October 7, 2023, Hamas attack on Israel, including the reoccupation of Gaza and the disproportionate effect on the Palestinian population.

Before Every Contact Leaves a Trace ventures too far into Israel, Gaza, or the commingled future of its peoples and the region itself, however, Sachs deliberately pulls back, returning to the original focus of her project, tracking down a select handful from the business cards she acquired over the years. Few are as compelling as Haardt, but they’re still fascinating on their own, sometimes less because of who they are or what they’ve contributed to film and the film community than their relationship to Sachs and the latter’s attempts, sometimes successful, sometimes not, to reignite long-dormant friendships or relationships.

Among Every Contact Leaves a Trace’s subjects, Sachs’ most intriguing interviewees include the late Lawrence Brose (De Profundis), a pioneering queer filmmaker who found himself hounded by Homeland Security and ICE for the alleged possession of child pornography. Out of a combination of fear and prudence, Brose pled guilty to a lesser offense (obscenity), in exchange for two years of probation. During that period, Brose couldn’t own or access anything related to the LGBTQ community or risk his probation turning into imprisonment.

Brose’s persecution and subsequent plea deal could — and probably should — have been a documentary in its own right, but in Sachs’ cine-essay, it offers her another opportunity for self-examination, both as an individual and as a filmmaker bound by ethics. Given the seriousness of the accusations against Brose, she considered excising his segment altogether. It’s to her credit that she didn’t.

Even in a truncated form, Brose and his story needed to be heard and seen. Sachs’ ethical conundrum also serves as an opening for much-needed discussion and rumination on the other side of the screen.

Sachs’ other subjects include Juan Jiang, the director of the now-defunct Chinese Women’s Festival; textile artist Betty Leacraft, Sachs’ one-time student turned teacher; Felix and Viva Torres, Sachs’ nephew and niece, respectively (the children of Sachs’ filmmaker brother, Ira); and, in a meta-fictional twist, Rae C. Wright, a performer who serves as a stand-in for Sachs’ therapist. While Leacraft proves slightly prickly under Sachs’ performance-driven direction, Felix and Viva emerge as a charming duo, offering the occasional insight along with warmth of spirit and generosity toward their idiosyncratic aunt. 

For some, Every Contact Leaves a Trace will seem overly personal and thus, too slight or of marginal interest. For those willing to look — and just as importantly, listen — Every Contact Leaves a Trace will, like the title of Sachs’ documentary, leave an indelible mark, asking important, open-ended questions about life, art, and mortality. Few have answers, but as Sachs suggests more than once, they’re all the more worth asking. 

Every Contact Leaves a Trace premiered at the 2025 IDFA (International Documentary Film Festival) in Amsterdam. It played most recently at the 2026 San Francisco International Film Festival

Poetics in the Politics of Now

https://poeticsandpolitics.ucsc.edu/

The fifth edition of Poetics + Politics will be centered around the theme: Poetics in the Politics of Now. The symposium will be held at the University of California at Santa Cruz between May 14-17, 2026.

This intentionally broad theme aims to engender a space of open dialogue about the interplay of aesthetics, politics, and history as they emerge in our various and discrete practices, commitments, regions and contexts. What are ‘poetics’ in the politics of now? Or, what are the ‘politics’ of the poetics of now? What is ‘now’? How are the pervasive topics that tend to cluster around documentary (realism, fidelity, responsibility, ethics, representation) animated or challenged or changed by this contemporary moment? What work does documentary do, and what can it do, in a media space increasingly dominated by altered images and facts? In a world increasingly shaped by the forces of financialization and nationalism? What could investing in form and poetics do in a moment like this?

Keynotes for this year’s symposium are DeeDee Halleck and Miko Revereza. DeeDee Halleck is a filmmaker, author, community and media activist, the founder of Paper Tiger Television and co-founder of Deep Dish Television, the first grass roots community television network. Her work to broaden and remake media landscapes has been recognized by major cultural and funding institutions. Miko Revereza is an award winning filmmaker whose body of work experiments with and examines the process of documenting the undocumented, moving through themes of diaspora, colonialism, and Americanization.

The 2026 symposium will be an in-person gathering: we are committed to the community-building work of physical presence and to creating an intentional space for shared and durational conversation across our time together.

Our call for proposals for the 2026 symposium is closed.

Principal Organizers are Irene Gustafson, Irene Lusztig, and Hannah Jayanti. This year’s symposium is made possible by funding from Porter College, the UCSC Arts Research Institute, the UCSC Center for Documentary Arts and Research (CDAR), and the UCSC Arts Division.

Schedule [revised!]

*The symposium has been moved off UCSC campus to honor the AFSCME strike which was called on May 7th, and called off on May 14th. We will gather at two locations: Barrios Unidos (1817 Soquel Ave, Santa Cruz, CA 95062) —please enter Barrios Unidos through cafe door with Poetics and Politics poster on the corner of Soquel ave and Trevethan ave— and 418 Project (155 River St , Santa Cruz, CA 95060)—please enter through the entrance marked Door 3 on River Street .For more information about the venues, parking, etc see Travel and Accommodation. To download a digital version of the old (and logistically defunct albeit very lovely and filled with bios) program—click here.

THURSDAY, MAY 14th
Barrios Unidos 1817 Soquel Ave, Santa Cruz, CA 95062

TimeSessionVENUE
4:00pm -8:00pmRegistration
Check in, collect program and name badge
Barrios Unidos
5:00pm -5:30pm Welcome
Honoring Land Relations: Matte Hewitt
Opening Remarks: Irene Gustafson, Hannah Jayanti, and Irene Lusztig
Barrios Unidos
5:30pm – 7:30pmSESSION 1
Poetics of Solidarity
John Greyson, Raed El Rafei, Mary Jirmanus Saba
[Moderated by Irene Lusztig]

In a presentation spanning nude Walt Whitman, a megaphone choir, a boycott duet, and a wartime Gaza hospital diary, John Greyson explores questions of poetics and witness, solidarity and activism, asking: what does it mean to sing queer songs against the tsunami of a genocide? Raed Rafei’s essay film-in-progress, tentatively titled To be in a Time of War, is a reflection on the cognitive dissonance of witnessing the devastating war in Gaza from the safety of San Francisco, a supposed queer utopian haven that both obscures US support and fosters solidarity. Mary Jirmanus Saba will show clips from a collaborative work in progress (with Native Studies Scholar Balraj Gill and Massachusett Sagamore War Chief Faries Gray) offering a framework of spatial sensing as countercartography that asks: what kind of relationships to land and place does embodied sensing foster? What kinds of artistic sensibilities might we as documentarians help to cultivate that could confront the profound challenges of our contemporary moment? This opening session moves expansively from a series of gay marches in San Francisco between the 70s and 90s, to a hospital in Khan Younis, to a protest in a Toronto university lobby, to Indigenous land in Massachusetts, oscillating between there and here, then and now. Collectively, we hope this presentation will offer images and ideas to ground our conversation to come in questions about solidarity across time and space—and how to make art in the most challenging of times.
Barrios Unidos
7:30pm – 9:00pmOpening Night Reception
Outside drinks, light snacks, mingling, processing!
Barrios Unidos

FRIDAY MAY 15
418 Project 155 River St , Santa Cruz, CA 95060

TimeSESSIONVENUE
10:00am -11:30amKEYNOTE
Martial Arts: Defending Ourselves and Others
DeeDee Halleck
[In conversation with Marty Lucas]

Halleck will look at the history of activism in the arts — from satire, posters and murals to boycotts, whistles, disruption, occupation, and general strike.
418 Project
11:30am – 1:00pmSESSION 2
Aftermath Practices
Adam Sekuler, The Abortion Clinic Film Collective (Kristy Guevara-Flanagan, Đoan Hoàng Curtis, Lynne Sachs), Helen De Michiel
[Moderated by S. Topiary Landberg]

“What does it mean to practice documentary when familiar structures no longer hold? This panel is framed by this timely provocation, posed by filmmaker Helen De Michiel, who invites us to think beyond questions of “organizing to restore our legacy institutions,” towards, instead, considering a framework of “aftermath practice — not retreat or defeat, but exploration and discovery.” Filmmaker-members of the Abortion Clinic Film Collective (Đoan Hoàng Curtis, Kristy Guevera Flanagan, Lynne Sachs) share urgent filmmaking and distribution strategies emerging from the frontlines of the post-Roe v. Wade reproductive health crisis. Filmmaker Adam Sekuler invites us to linger in the aftermath of film festival programming, and to attend to the “unseen archive” of what gets left out—silenced forms, counter-temporalities, and other refusals. The presenters in this panel collectively grapple with questions of “aftermath”—how to make work in new ways in spite of—or ignited by—the unraveling of political, public health, and arts institutions at every scale.
418 Project
1:00pm – 2:00pmLunch
We will be downtown where there are many places to eat. We can recommend Abbot Square food court for outdoor seating, but also see Travel and Accommodation for suggestions.
2:00pm – 3:30pmSESSION 3
Gestures of Repair
Rosie Reed Hillman, Eva Knopf, Erin Wilkerson
[Moderated by Hope Tucker
]
How can we explore the “poetics of repair in a seemingly broken world?” We’ve taken this resonant question posed by filmmaker Eva Knopf (who unfortunately could not attend in person) as a frame for this conversation between three filmmakers. Filmmaker Roșie Reed Hillman creates a tender feminist portrait of witches— working-class women in midlife, “using magic to transform and transport.” Filmmaker and media artist Erin Wilkerson calls for “feral” filmmaking and situated knowledge in a live autoethnographic video performance exploring colonial landscapes, early American settlement and expansion, and botanical-based fieldwork. Knopf’s work in progress Movie Kintsugi explores “how we deal with breakages, repairs and the broken pieces of everyday life – in a world of pieces and multiple crises. What do fracture lines tell us that would otherwise remain hidden?”
418 Project
3:30pm- 4:00pmBreak
4:00pm-5:30pmSESSION 4
Reframing Interference
Hanna Rose Shell, Anna Friz, Nadia Ahmed
[Moderated by Rebecca Ora (rora)
]
The three presenters in this panel reframe interferences such as sun flare, noise, fuzziness, and ephemerality as productive modes of inquiry rather than obstacles to knowledge. We’ve borrowed the title of this session from Anna Friz’s practice of “detunement” which embraces the uncertainty that research and empirical observation have typically sought to filter out. Through a practice of listening and noticing across radio bands, foggy Icelandic landscapes, and Chile’s industrialized Atacama desert, Friz treats perceptual ambiguity as a methodology for a complex world. Hanna Rose Shell’s work-in-progress, Flare Patrol / Parallax Vision, weaves together 35mm solar-detection films from Cold War-era coronagraphs, and contemporaneous news archives. Placing these in “parallax” across seemingly incommensurable vantage points, Shell explores whether shifting the scale towards the solar can open new ways of thinking about fidelity, frequency, and the politics of “now.” Nadia Ahmed’s Wetlands of Mass Destruction explores how the shifting marshlands of southern Iraq’s Al-Ahwar has long functioned as ecological and political endurance. Reading across myth, indigenous Ahwari poetry, and environmental policy, Nadia argues that foreign restoration efforts fail when they treat the ephemeral nature of these waters as interference to be corrected rather than resilience.
418 Project
5:30pm – 6:30pmSESSION 5 | WORKSHOP
Documentary as Health Care
Liz Roberts, Alex Juhasz

Juhasz and Roberts screen clips from two new works, Please Hold and Love is the Drug to engage facilitated conversation with workshop participants about community-situated documentary practice in spaces of health related vulnerability. Both works engage with the durational crisis of HIV/AIDS. Engaging with Juhasz’s definition of queer feminist media praxis, our facilitated experience invites participants to think together in an expansive way through the poetics and practices of activist media. The works are deeply archival, across time and format, but use experimental form to show how all those times can be copresent now, that grief is spatial, and care is always possible.
418 Project

SATURDAY, MAY 16th
Held at both Barrios Unidos and 418 Project

TIMESESSIONROOM
10:00am-11:30amKEYNOTE
Undocumentability and Smuggling Through Loophole Cinema
Miko Revereza
[in conversation with Hannah Jayanti]

This talk engages Miko Revereza’s practice through notions of undocumentability and smuggling through what Revereza calls loophole cinema. Emerging from his experiences growing up as an undocumented immigrant in the United States, his research begins with the question: how does an undocumented documentary filmmaker document themself? Revereza explores the ontological loopholes between bureaucratic and cinematic documents and how these forms might contaminate each other. His filmmaking practice, operating within registers of visibility and invisibility, becomes entangled with existential decisions such as self-deportation and exile, treating cinema as a stage for refusal and as a tactical method for infiltrating, transmitting, or smuggling himself through borders. In this talk Revereza will explore the evolution of personal filmmaking, departing from his initial question towards a new one: how might an undocumented documentary filmmaker become undocumentable?
418 Project
11:30am-1pmSESSION 8
XO & Struggle: A Case Study in Tactical Film Programming & Exhibition
Emily Rose Apter and Keisha Knight
Featuring work by Saeedah Cook, Kelly Gallagher, Cameron A. Granger, Christopher Harris, Alex Johnston, and Matazi Weathers
[Moderated by Abram Stern]

Solidarity Media Network presents XO & Struggle, a film screening dedicated to the George Jackson Brigade’s enduring legacy of both love and struggle. Drawing inspiration from Ruth Wilson Gilmore’s notion of abolition as presence, the program explores possibilities of anti-carceral image-making while maintaining that art alone cannot transform the conditions that produce carceral violence. Previous iterations of XO & Struggle appeared in cinema and organizing spaces across NYC, evolving in collaboration with participating artists, organizers, and political educators. This screening will be followed by a facilitated discussion and brainstorm session focused on nourishing an abolitionist imaginary, strengthening inside/outside collaboration, and expanding the use of media in support of global freedom struggles.
418 Project
1:00pm-2:00pmLunch break / part of group moves to Barrios Unidos
2:00pm – 3:30pmSESSION 9 (Sessions 9+13 are concurrent presentations at DIFFERENT LOCATIONS)
Tracing Terrains
Amir Husak, Jenny Lion, Amy Reid
[Moderated by Leslie Tai
]
This session explores filmmaking through what Amir Husak refers to as “a cartographic and poetic act,” where terrains are traced through the histories, politics, and communities that shape them. Husak’s film-in-progress, The Eye of the Mountain, turns an intentionally slow and meditative gaze on Plješevica mountain in Northwest Bosnia-Herzegovina. Investigating how EU border policy is inscribed into the landscape, the project foregrounds stillness, atmosphere, and ecological attention as a form of counter-surveillance. Jenny Lion brings a durational practice to moving-image works set in militarized landscapes of the American West. Lion’s presentation will include excerpts from the work-in progress cinematic essay Dixie Valley which has been shot over twenty years in a remote Nevada valley emptied of its inhabitants by the U.S. Navy and remade as a staging ground for electronic warfare. Amy Reid’s documentary Grandmother’s Garden finds its cartography in the American quilt, tracing histories of enslavement, sharecropping, and women’s labor that are threaded through domestic life. Filmed with quilters across the country over several years, Reid asks what these objects reveal about the economic landscape we have inherited, and what they can teach us about our contemporary moments.
418 Project
2:00pm – 3:30pmSESSION 13 (Sessions 9+13 are concurrent presentations at DIFFERENT LOCATIONS)
Balancing the Scales

Jason Fox, Paige Sarlin, Sharon Daniel
[Moderated by Pooja Rangan]

Positioned at the nexus of journalistic and documentary discourses, this panel engages with national narratives of fairness and justice. Fox’s work-in-progress, a feature-length live cinema project, *A Social History of Fairness*, explores forms and frameworks for judgment animating various scenes of modern athletic spectacle across the 20th and 21st centuries, suggesting that there is much to learn here about our American purposes and desires; the collective satisfactions we think we seek. Sarlin’s presentation considers how ‘interview work’– the production, reproduction, editing, and representation of interviews –has  been drawn into the politics of the present. Using the October 2024 ‘60 Minutes’ interview with Kamala Harris as a case study, Sarlin considers the status of editing in recent attempts to establish ethical norms for documentary practice. Daniel’s multi-part, multi-media project, Reasonable Doubt, examines the subjective nature of investigation and the ephemerality, instability and opacity of “evidence” – exploring the failure science and law, ethics and aesthetics, politics and representation, in efforts to resist structural racism, capitalism and corruption.
Barrios Unidos
3:30pm-4:00pmBreak / everyone moves to Barrios Unidos
4:00pm -5:30pmSESSION 11
Mediations of Place
EB Landesberg, Eli Boonin-Vail, Liz Miller
[Moderated by Selmin Kara]

Place is a starting point for these presenters to interrogate larger systems. EB Landesberg’s work-in-progress film Con Todo Combina examines Peru’s Inca Kola in order to trace entangled histories and “the legacies of colonialism as they are felt in everyday life.” Through juxtaposing various forms of production—capitalist, cultural, historical—Landesberg asks about the aesthetics of global capitalism and the construction of national imaginaries. Eli Boonin-Vail’s video essay Panorama of Western State Penitentiary considers an abandoned Pittsburgh prison repurposed as a film set in order to explore the relationship between prisons and media. Through presenting excerpts from the film alongside historical contexts, theoretical underpinnings, and an exploration of the artistic process, Boonin-Vail “proposes reflexive methods for researching images under carceral capitalism.” Liz Miller’s collaborative installation In the Wake of the Hochelaga Archipelago follows the water infrastructures shaping Tioh:tiáke/Montréal. Through a practice dedicated to “the poetics and politics of water, waste, consumption, collaboration and place-based documentary methods,” Miller interrogates how technological representations, such as aerial imagery, and documentary methods including non-linear forms, can create alternate imaginaries.
Barrios Unidos
5:30pm- 7:00pmSESSION 12
Frictional Filmmaking
Chico Pereira, Brett Kashmere, Solomon Turner, Jackson Kroopf
[Moderated by Maya Scherr-Willson
]
How does history exert its pressure on the present moment? Pereira’s Fiction Enters Town (working title), emerged from the experience of making his previous film–where a reenactment of a miner’s strike from the 1980s activated collective memory, energized public discourse and inspired political action, all the while being dismissed by local authorities as “only fiction.” The new project probes the distinctions between ‘reality’ and ‘fiction’ even further by testing whether cinema can intervene where reality itself seems to stall. In a presentation on their collaboratively produced film, Hundred Yard Universe, Kashmere and Turner speculate about the historical imaginary of American football: how the ‘now’ is shaped by cultural forces and how the future might emerge through a collective processing of physical, emotional, and political traumas. Kroopf’s hybrid non-fiction film project The Art of Survival (or What in the Son-of-a-Bitchin-Fuck IS That?) features 97 year-old acting teacher, movement artist, and Holocaust survivor Maria Wida. Her simultaneous desire for representation and also her resistance against it, sets the stage for the film’s query of imaginary and historical selves. 
Barrios Unidos
7:00pm – 10:00pmSYMPOSIUM DINNER
for symposium presenters and moderators only
Barrios Unidos

SUNDAY, MAY 17th
418 Project 155 River St , Santa Cruz, CA 95060

TIMESESSIONROOM
10:00am -11:30amSESSION 14
Physical Imprints
Sophie Hamacher, Kym McDaniel, Lalu Ozban, Chisato (Chisa) Hughes
[Moderated by Inês Pedrosa e Melo]

The sensing, feeling, resilient and, also, vulnerable body is both a site of inquiry and the location from which these three presenters stage questions about ethics, care and the medicalized body. Hamacher’s multimedia installation, Piece of My Heart: A Laboratory asks how visual systems—like medical imaging and surveillance—shape our perception of care, vulnerability, and the body. Through an essayistic video address, ceramic speakers, and silkscreen prints, the work explores how political and environmental forces inscribe themselves on the human heart, a simultaneous metaphorical and tangible organ. In her in-progress film, Memory Recall, McDaniel uses animation, montage theory, and text-on-screen to explore trauma narratives.The film is both a method of processing embodied trauma as well as an invitation to question and resist medicalized and depersonalized approaches to the topic and experience of trauma. Lalu Ozban’s work-in-progress documents two collective porn-watching events—one in Istanbul in 2021, another in Santa Cruz in 2026—examining how communal viewing might function as a practice of transfeminist solidarity. Filming the second event with thermal cameras, Ozban prioritizes heat and presence over legible identity, enacting a “poetics of anonymity” and repurposing technologies often used for surveillance.
418 Project
11:30am – 1:00pmSESSION 15
Common Threads
Ernest Larsen, Sherry Millner, Alex Johnston, Jeanne C. Finley
[Moderated by Anita Chang
]
Through practices of engaged collaboration, this panel imagines how filmmaking can enact care and relationship building processes. In a presentation on their in-progress experimental essay film, Uprooted, Larsen and Millner reflect upon the “complex, anti-authoritarian poetics, rooted in and uprooted from the multiply determining contexts” in which the film and the filmmakers themselves are embedded. Johnston explores the intimate nature of his in progress film, Cozy Cuddly, Armed and Dangerous: A Film with the George Jackson Brigade. His presentation considers the film’s acts of relational and political entanglement and ponders the ways we learn and listen and teach and love one another amidst historical periods of dislocation, isolation, and precarity. An extended meditation on the necessary and complex nature of hope– as an orientation of the heart– Finley will discuss her latest documentary A Radical Thread.
418 Project
1:00pm -1:30pmClosing Remarks418 Project