As The Final Year quietly argues, if the United States' electorate fails to elevate itself to a higher level of political vernacular than coarse tweets and reality TV-style colloquies, then 2016 may be the best year the US will have had for a long time to come.
Anchored by an unflinching cinéma vérité style and a powerful lead performance by Margita Gosheva, Glory (Slava) thrives as a grave parable on the social media economy's corrupting influences against ethics and morality.
The Force, which details the Oakland Police Department's recent reform efforts, is best viewed as a complementary work to prior Black Lives Matter documentaries, such 2017's Whose Streets? and The Blood Is at the Doorstep.
Director Jonathan Olshefski has made a stirring call for the placement of low-income, inner-city families into our collective consciousness.
The nostalgic beauty of Planes, Trains and Automobiles — aside from a delicious '80s synth score — is its fleshy, alive representation of different economic classes having to deal with one another absent easy technological escapes.
A minor masterpiece, Certain Women is a profound meditation on the ways people temporarily buoy themselves from life's banalities, injustices, and disappointments.