Revisiting Impressions, the Canadian photography magazine that was founded in 1970 and ran 30 issues of eclectic images and idiosyncratic layouts.
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An interview with David Greaves and Liani Greaves about Once Upon a Time in Harlem and bringing their father William's final work to the screen.
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Gabrielle Brady and Poh Lin Lee discuss their collaborative process on the hybrid films The Wolves Always Come at Night and Island of the Hungry Ghosts.
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Shelley Saywell looks back at her career in documentary and a formative love story that helped fuel her passion in her memoir If Only Love.
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Surveying the state of documentary production in Europe, including a rise in co-productions, hybrid works, and single-issue films.
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Two recent exhibitions by photographer Jeff Wall invite further reflection about the role of documentary and capturing life within a single frame.
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Surveying the state of U.S. documentary as producers, filmmakers, programmers, and broadcasters face a "new normal" in the age of Trump.
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Conversations at European festivals highlight a documentary ecosystem in a time of structural change with streaming, AI, and new funding models.
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With documentary financing tightening, Canadian filmmakers are increasingly turning to wealthy benefactors to bridge the gap. What will this mean for creative autonomy, accountability, and the art form’s long-term health?
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Concrete Turned to Sand directors Jessica Johnson and Ryan Ermacora discuss their process of documenting oyster farmers and intertidal life off Cortes Island, B.C.
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