The famed director Orson Welles changed cinema forever with his prestigious career, but his final film—The Other Side of the Wind—was unfinished and unseen for decades. But when Sonita turns the camera on its filmmaker, detailing Maghami’s decision to spend the money required to keep Sonita in Iran when her family decides to return to war-torn Afghanistan, the film becomes so much more than a portrait: Like The Look of Silence, Sonita emerges as a testament to the responsibility of seeing.

For anyone entranced by the world of Drag Race, Trixie Mattel: Moving Parts is required viewing. Because, as Herzog told Paste more than eight years ago: “Rescue Dawn is not a war movie. While Allen inserts his presence on occasion, mostly through voiceover and brief film segments, he lets his fellow Buddhafield members do much of the talking and criticizing of their former guru. It’s doubtful that neophytes will come away from Adam Schlesinger and Linda Saffire’s documentary with a deeper appreciation of the art form. Iverson invites you to sit with the complexities of fame, especially for black men and women who are expected to represent much more than their individual selves, and it also demands that—even if you don’t fall in love with the great Allen Iverson by the end, you have to respect his game. Stoic and hard, they become tiny memorials for the people Panh still cannot forget 40 years later. An award-winning, behind-the-scenes view of the campaigns of Alexandria Ocasio-Cortez, Amy Vilela, Cori Bush, and Paula Jean Swearengin—four women with no political experience or corporate money. Except during the last 10 minutes (and even then, in what looks like a truncated form), there aren’t really any sustained ballet sequences in which to marvel at the former New York City Ballet principal dancer’s legendary physicality. In fact, … And while this four-part docuseries includes interviews with Epstein’s former colleagues and associates—and particularly chilling deposition footage of Epstein himself—director Lisa Bryant focuses on the stories of the survivors, women who were drawn into Epstein’s circle and are brave enough to share their accounts with the world. Directed by John Maloof and Charlie Siskel, the film begins with Maloof explaining how he purchased a box of old negatives in 2007 for a book project but never ended up using them.

The truth hurts. If you didn’t live in East Germany during the decades the Stasi was extending its insidious reach, perhaps your only knowledge of the GDR secret police comes from the 2007 Oscar-winner The Lives of Others. —Dom Sinacola, Year: 2016 Director: John Scheinfeld —Tim Grierson, Year: 2013 Director: Morgan Neville Tabloid, then, is not so much a critique of tabloid media as it is its own form of tabloid, presenting a gleeful whirlwind of fact and fiction that’s entertaining despite—or because of—our reservations. I’ve heard Broomfield referred to, among other epithets, as a “bottom-feeding creep,” and it’s not a stretch to see how his methods and results could be construed as the work of such. But even more so, the film is a strong illustration of how one man challenged a society’s assumptions about masculinity and desirability. Schwarzenegger understands that weightlifting is a mind game (like in any sport), buttressed best by a healthy sense of vanity and privilege, and directors Fiore and Butler mine Arnold’s past enough to divine where he inherited such self-absorption.

Bonus: it also contains proof that she has one of those cat backpacks that make them look like astronauts in a tiny rocket.

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