Please join us for our next screening of A Fidai Film, followed by a Q&A with filmmaker Kamal Aljafari on October 6th at 1pm in Kellen Auditorium.
In the summer of 1982, the Israeli army invaded Beirut. During this time, it raided the Palestinian Research Center and looted its entire archive. The archive contained historical documents of Palestine, including a collection of still and moving images. Taking this as a premise, ‘A Fidai Film’ aims to create a counter-narrative to this loss, presenting a form of cinematic sabotage that seeks to reclaim and restore the looted memories of Palestinian history. It’s a poignant exploration of identity, memory, and resistance, told through a unique blend of documentary and experimental filmmaking techniques. (Doha Film Institute)
Program Duration: 80 min
About Kamal Aljafari
Kamal Aljafari is a Palestinian filmmaker and artist. His films have screened at major festivals and museums, including Locarno, London, Viennale, and the 35th Bienal de São Paulo. He has received prestigious awards from FIDMarseille, Pesaro, and Visions du Réel. In 2024, IndieLisboa hosted a full retrospective of his work. Aljafari has taught at The New School and DFFB in Berlin and was a Film Study Center fellow at Harvard. Currently a fellow at Columbia University’s Institute for Ideas and Imagination, he is developing “Beirut 1931,” a fiction film to be shot in Jaffa.
Please join us for this screening and Q&A, hosted and moderated by Amir Husak, Director of Documentary Studies and Assistant Professor of Media Studies.
We’re excited to open the Fall 2025 Doc Talks screening season with The Shards by Masha Chernaya, followed by a Q&A with the filmmaker.
In Spring 2022 Masha prepares to leave Russia – her homeland that has changed. It turns into a chain of unexpected farewells: her mom dies of cancer, her lover flees army conscription, everything including her own old self is falling apart. Her way to cope with the grief is to fixate everything with her camera. Her anger guides her to inner emigration to the local underground scene, which became an escape for young Russians. This kaleidoscope of shards chronicles not only the spirit of the time, but the director’s personality crumbling against the backdrop of global turmoil.
With a multifaceted background, Masha Chernaya works as a director and cinematographer, editor, text author, photographer, and illustrator, blending her diverse talents to create compelling visual narratives. Her most recent feature documentary The Shards (2024) has won the Doc Alliance award for Best Feature Film.
Please join us for this screening and Q&A, hosted and moderated by Amir Husak, Director of Documentary Studies and Assistant Professor in the School of Media Studies.
We are thrilled to announce that several alumni of the Doc Studies program have been selected to showcase their films at DOC NYC, the largest documentary festival in America, this November! Orgy Every Other Day by Samuel Döring (Class of 2024) and If I’m Being Honest by B.A. Williams (Class of 2024) have been chosen for the shorts programs, while Dark Chambers by Jordan Salyers (Class of 2024) was competitively selected for DOC NYC U. All three short films were previously featured during our 17th annual Doc Studies showcase, Truth Be Told 2024. Congratulations to our talented alumni!
Explore their backgrounds, the films’ synopses, and screening details below.
Orgy Every Other Day
Director/Writer: Samuel Döring
In basements and lofts NYC’s queer underground sex party community has created spaces where people can play and enjoy orgies in a safe and semi-public environment. The film explores what these places mean to people, where these parties originate from and why it might be important for them to remain underground. (USA 13 MIN)
Samuel Döring is a German-French filmmaker, festival programmer, and film critic. They graduated with their debut short film Orgy Every Other Day as part of the Documentary Studies class of 2024 at The New School, funded by the Fulbright Program. Sam worked as a cultural programmer at Goethe-Institut Senegal and as a program coordinator at DOK Leipzig and hosts the film podcast Nach dem Kino on Spotify.
If I’m Being Honest
Director/Writer: B.A. Williams
A filmmaker delves into their origin story, uncovering painful truths about their estranged mother. Weaving a vulnerable letter to their son and a recorded conversation with their mother, scenes of domestic life form a poignant backdrop to this exploration. (USA 16 MIN)
B.A. Williams (they/she) is a writer and filmmaker. Originally from Long Beach, CA, they now call New Jersey home, where they live with their wife, Nikki, and child, Morrison. They hold an MFA in Creative Writing and are pursuing their Master’s in Media Studies at The New School, where they wrote, filmed, and directed their first short film, If I’m Being Honest. B.A. is interested in exploring themes of Blackness, motherhood, belonging, and longing in their films and, at the same time, juggling the tall task of shifting and centering the narrative surrounding queerness by focusing on the beauty of mundane queer life. Their writing is featured in Rigorous Magazine, Every-Other Broadsides, The Rumpus, and The New York Times: Parenting. (photographed by: Michael DeJour)
Dark Chambers
Directors: Jordan & Kanette Salyers
In the shadow of covid-19, the filmmaker and his mother huddle around their family photo album, updating old media and transcribing written histories. But in preserving these dark chambers, what goes to rot?
Jordan Salyers (he/him) was born in Maryland, 1992, to an extraordinary, singular single-mother, Kanette. His first act of independence was flunking out of the local college. He then made the most regretful decision, in 2012, to enlist in the US Navy. He has a lot to say about that. In 2019, he grew out his hair and relocated to NYC as a student at The New School. He works with blended fictions; he likes found-footage film and video; he loves his partner, Victoria, and her cat, Uma. He hopes to remain a student indefinitely.
** As of May 5, 2024, the artist has cancelled this event in solidarity with the students demanding divestment from Israel, who were arrested and suspended after the police were called to clear the solidarity encampments. **
Join us for a virtual screening and Q+A with filmmaker, Maryam Tafakory, to discuss her films Mast-del, Irani Bag, Nazarbazi, and Chaste/UnChaste.
Through collages of original and found footage, Tafakory’s films reflect on identity and the censorship of intimacy and sexuality in post-Revolution Iran. Mast-del explores queer identity inside and outside of post-Revolution Iran through altered visuals, new and archival. Irani Bag is a video essay, focusing on the restriction of physical intimacy and demonstrating to its viewers “how to touch without touching.” Nazarbazi tells a story of desire, control, and love in Iran through a collage of found footage. Chaste/UnChaste examines the limitations of labeling women’s bodies as chaste/unchaste through depiction of Iranian women in film.
Maryam Tafakory [b. Shiraz/Iran] works with film and performance. Screenings of her work include MoMA, Tate Modern, Cannes’ Directors Fortnight, New York Film Festival, Locarno, Toronto International Film Festival, FICUNAM, Oberhausen, and Anthology Film Archives, amongst others. She was awarded the Gold Hugo at the 58th Chicago Int’l Film Festival, the Tiger Short Award at the 51st IFFR, the Barbara Hammer Feminist Film Award at the 60th Ann Arbor Film Festival, and the Best Experimental Short Film at the 70th and 71st Melbourne International Film Festival, amongst others.
This Doc Talk featured a screening and Q&A with filmmaker Irene Lusztig to discuss her film, Richland.
Built by the US government to house the Hanford nuclear site workers who manufactured weapons-grade plutonium for the Manhattan Project, Richland, Washington is proud of its heritage as a nuclear company town and proud of the atomic bomb it helped create. RICHLAND offers a prismatic, placemaking portrait of a community staking its identity and future on its nuclear origin story, presenting a timely examination of the habits of thought that normalize the extraordinary violence of the past. Moving between archival past and observational present, and across encounters with nuclear workers, community members, archeologists, local tribes, and a Japanese granddaughter of atomic bomb survivors, the film blooms into an expansive and lyrical meditation on home, safety, whiteness, land, and deep time.
Moderated by Lana Lin, Director of the Graduate Certificate in Documentary Media Studies. Co-produced with Documentary Program Associates Adriana de Lucio (Media Studies ’24) and Johann Yamin (Media Studies ’24).
Irene Lusztig is a feminist filmmaker, archival researcher, educator, and amateur seamstress. Her work brings historical materials into conversation with the present, inviting viewers to contemplate questions of politics, ideology, and the complex ways that personal, collective, and national memory are entangled. Her films have been screened around the world, including at the Berlinale, MoMA, Film Society of Lincoln Center, Museum of Fine Arts Boston, Anthology Film Archives, Pacific Film Archive, Flaherty NYC, IDFA Amsterdam, Hot Docs, AFI Docs, BFI London Film Festival, Melbourne Film Festival, DocLisboa, and RIDM Montréal. She has been awarded fellowships from the Guggenheim Foundation (2021), the Radcliffe Institute for Advanced Study, the Fulbright, two MacDowell fellowships, the Flaherty Film Seminar, and the Rydell Visual Arts Fellowship. She is Professor of Film and Digital Media at UC Santa Cruz.
Vaz’s films activate and question cinema as an art of the (in)visible and instrument capable of dehumanising the human, expanding its connections with forms of life — other than human or spectral. Apiyemiyekî? addresses the genocide of the Waimiri-Atroari people in 1970s through illustrations created by the indigenous population which refer us to the present day. In present-day Dominican Republic, Amérika: Bahía de las Flechas revisits Lake Enriquillo where Christopher Columbus landed in 1492 and confronted the native Taíno people to establish the first European settlement in America. Há Terra! is set in the Brazilian bush where land and character, predator and prey encounter one another in a chase, a hunt, and a tale of looking and becoming. Look closely at the mountains compares the dire mineral extraction issue in Brazil with a different outcome in Nord-Pas-de-Calais in France, where such extraction has ceased. Atomic Garden explores an elderly Japanese woman’s contaminated garden after the nuclear catastrophe of Fukushima.
Moderated by Lana Lin, Director of the Graduate Certificate in Documentary Media Studies. Co-produced with Documentary Program Associates Adriana de Lucio (Media Studies ’24) and Johann Yamin (Media Studies ’24).
Ana Vaz is an artist and filmmaker born in the Brazilian highlands. Recent film festivals include Locarno Film Festival, Cineasti del Presente (Switzerland, 2022); Berlinale, Forum Expanded (Germany, 2023, 2021, 2020); MoMA Doc Fortnight (New York, USA, 2023); CPH:Dox (Copenhagen, Denmark, 2023); IFFR (Rotterdam, The Netherlands, 2023, 2020); Viennale (Austria, 2022); Mostra Internacional de Cinema em São Paulo (Brazil, 2022); Jeonju International Film Festival (South-Korea, 2023); Indie Lisboa, International competition (Portugal, 2023). Her work has also been shown at Jeu de Paume (Paris, France), Instituto Moreira Salles (São Paulo, Brazil), Courtisane (Ghent, Belgium), Whitechapel Gallery (London, UK), TIFF Cinemathèque (Toronto, Canada), and Flaherty Film Seminar (Hamilton, USA). She is a founding member of the collective COYOTE, an interdisciplinary group working in the fields of ecology and political science through an array of conceptual and experimental forms.
The first Doc Talk of Spring 2024 featured a screening and Q&A with filmmaker Michael Gitlin to discuss his film The Night Visitors.
THE NIGHT VISITORS is a movie about moths. Through a critical lens that is by turns social and personal, the film closely considers these underknown creatures. The small hours of the night are threaded through with a sense of mortality and loss. Moths, with their trembling and exquisite impermanence, provide both a kind of solace and a focal point around which the desire to know can be organized. The film looks at moths as aesthetic beings and as carriers of meaning, aiming for a deep encounter with the beauty and incommensurability of the profoundly other.
Moderated by Lana Lin, Director of the Graduate Certificate in Documentary Media Studies. Co-produced with Documentary Program Associates Adriana de Lucio (Media Studies ’24) and Johann Yamin (Media Studies ’24).
Michael Gitlin makes work about some of the intricate conceptual and ideological systems out of which ways of knowing the world can be constructed. His films have screened at numerous venues, including the Museum of Modern Art in New York, the Toronto International Film Festival, the Full Frame Documentary Festival, the London Film Festival, and the Whitney Biennial Exhibition. Gitlin’s experimental documentary, THE NIGHT VISITORS, premiered at the 2023 New York Film Festival. Gitlin was the recipient of a Guggenheim Fellowship in 2006. His work has also been supported by a MacDowell Fellowship, the Jerome Foundation, the New York State Council on the Arts, and the New York Foundation for the Arts. His 16mm film, The Birdpeople, is in the collection of the Museum of Modern Art.
The Documentary Media Studies Graduate Certificate will be on hiatus in Fall 2024-Spring 2025 semesters.
We encourage those interested in The New School’s 2-year Masters Program in Media Studies to apply for admission for Fall 2024 and to pursue the Documentary Certificate in their second year of study. Applications to the Documentary Certificate for students seeking to enter in Fall 2025 will open in September 2024.
The New School Doc Studies 