MoMA’s annual celebration of nonfiction cinema returns with a showcase of the most innovative, vital voices in documentary and hybrid filmmaking. In its 23rd year, Doc Fortnight’s wide-ranging slate continues to bring New York City audiences award-winning debuts, film-festival highlights from around the world, and adventurous new films by moving-image artists.
Across this edition of the festival, which unfolds amid continued geopolitical crises, filmmakers confront histories of violence and imperialism—from the Battle of Okinawa and the Bosnian War to present-day Guinea Bissau and Afghanistan—by exposing their present-day reverberations and reanimating historical archives with breathtaking ingenuity. Others take formally daring approaches to grapple with the uneasy role that technology plays in shaping the public sphere and the built environment, or craft portraits of people, places, and subcultures—from the youthful ringleader of a Beijing countercultural hangout pad to members of the Church of Satan—with intimacy and originality. Doc Fortnight 2024 presents 13 features and six short films, alongside three special programs: a kaleidoscopic collection of films from the Caribbean, curated by the Puerto Rico–based Sociedad del Tiempo Libre; a dialogue between artist Tiffany Sia and scholar Pavle Levi sparked by their shared interest in landscape film and the Cold War’s minor histories; and a spotlight on Gelare Khoshgozaran, presented as part of MoMA’s Modern Mondays artist cinema series.
Organized by Sophie Cavoulacos, Associate Curator, Department of Film, MoMA, and Julian Ross, Leiden University Centre for the Arts in Society, with Chandra Knotts, Filmmaker Liaison, Department of Film, MoMA.
Film at MoMA is made possible by CHANEL.
Additional support is provided by the Annual Film Fund. Leadership support for the Annual Film Fund is provided by Debra and Leon D. Black, with major contributions from the Triad Foundation, Inc., The Contemporary Arts Council of The Museum of Modern Art, Jo Carole and Ronald S. Lauder, the Association of Independent Commercial Producers (AICP), The Young Patrons Council of The Museum of Modern Art, and by Karen and Gary Winnick.
