The restructuring of media conglomerates in the wake of streaming’s stagnating growth has left documentarians on shaky ground. Industry efforts to impress stockholders with cost-cutting measures and broad appeal entertainment have led to some high-profile layoffs in the nonfiction field and the sense among independents that there are few financing and distribution deals for formally experimental projects that challenge viewers’ political assumptions.  So, what films are being made right now? What do alternative paths to exhibition look like? And how might thinking through the relationship between commercial and public media present possibilities for a more inclusive documentary culture on and […]