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DTSTART;TZID=America/New_York:20261112T193000
DTEND;TZID=America/New_York:20261112T193000
DTSTAMP:20261115T183325
CREATED:20261028T170353Z
LAST-MODIFIED:20261112T205524Z
UID:10003100-1794511800-1794511800@uniondocs.org
SUMMARY:Field Niggas
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text css=””]Doors 7:00p\nProgram 7:30p\nTickets $12[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text]UnionDocs\n352 Onderdonk Ave\nRidgewood\, NY[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_video link=”https://vimeo.com/851422192″][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””]We’re excited to present a special screening of Field Niggas\, the visceral\, genre-defying feature by filmmaker and photographer Khalik Allah\, ahead of his upcoming workshop Camera Ministry: Lens-based Encounters. Shot entirely at night on the corner of 125th Street and Lexington Avenue in Harlem\, Field Niggas draws us into a world shaped by proximity\, presence\, and the rhythms of the street. Through intimate portraits\, fragments of conversation\, and a hypnotic soundscape\, the film unfolds as an immersive encounter with a place and the people who make it. Allah’s camera moves with an uncommon intimacy\, dissolving the distance between filmmaker and subject. The street becomes both a site of portraiture and a space of collective expression\, where the everyday gestures of survival\, connection\, and self-representation take on a profound poetic force. \nThis screening offers an entry point into Allah’s distinctive approach to image-making\, in which the camera becomes more than a recording device: a means of building relationships\, cultivating trust\, and remaining open to the unexpected. Ahead of the workshop\, we invite audiences to consider how attention\, proximity\, and vulnerability shape the images we make\, and how the act of looking might become a practice of care\, connection\, and communion. \nCome through![/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nProgram \n[/vc_column_text][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nField Niggas\n[/vc_column_text][vc_column_text css=””]2015\, 60 mins[/vc_column_text][vc_column_text css=””]Set entirely at night\, Field Niggas takes us to the corner of 125th Street and Lexington Avenue in Harlem and introduces us to its faces. The non-synch audio track consists of conversations with and among those faces: dreams\, regrets\, arguments\, affection\, observations\, opinions. \n“An intimate movie with a metaphysical grandeur\, a detailed local inquiry that displays the crushing power of societal forces as well as the passion and vitality of those who endure.”\n– Richard Brody\, The New Yorker[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nProgram Duration: 60 mins \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”40px”][vc_single_image image=”147742″ img_size=”full”][vc_column_text] \nWatch the conversation between Presenter1\, Presenter2 and Presenter 3 on the UnionDocs’ Membership hub. \n[/vc_column_text][vc_btn title=”Watch” style=”outline-custom” outline_custom_color=”#ffffff” outline_custom_hover_background=”#adadcc” outline_custom_hover_text=”#0000cd” shape=”round” align=”center” css_animation=”bounceIn”][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nBios \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”165956″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Khalik Allah is a New York-based photographer and filmmaker who practices Camera Ministry with an eye as open as his heart. The resulting work has been described as “street opera” and noted for its beautifully visceral humanity. After a number of short films that reflect relationships between formed through portraiture\, Allah advanced his artistry with the feature Field Niggas (2015)\, shot at nighttime on the corder of Harlem’s 125th St. and Lexington Avenue. This corner also served as thesis for his first photography book Souls Against the Concrete\, published by University of Texas Press in 2017. Allah continued with Black Mother (2018)\, an ecstatic expression of reverence and realities across Jamaica. This award winning film has been seen in festivals\, museums and schools around the world; further released in the UK and the US through distributors Dogwoof and Grasshopper Film. Allah’s films are available on the Criterion Channel. Khalik is currently at work on his second photo book from 125th and Lexington.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”166540″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Kazembe Balagun is a cultural organizer\, curator\, and writer based in Harlem\, New York. As Executive Director of the Maysles Documentary Center\, he works at the intersection of documentary film\, public history\, and community engagement. Over the course of his career\, he has developed programs\, exhibitions\, and educational initiatives that amplify grassroots voices\, preserve neighborhood histories\, and create spaces for dialogue across generations. Grounded in Harlem’s traditions of culture and activism\, Balagun’s work explores how storytelling can strengthen civic life\, deepen historical understanding\, and foster collective imagination.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nFrom the Event \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][vc_media_grid style=”pagination” items_per_page=”1″ element_width=”12″ arrows_design=”vc_arrow-icon-arrow_01_left” arrows_position=”outside” arrows_color=”white” loop=”yes” item=”136647″ grid_id=”vc_gid:1794516876554-e70da1fa-e303-0″ include=”147747\,147746\,147745″][vc_empty_space height=”30px”][/vc_column][/vc_row]
URL:https://uniondocs.org/event/field-niggas-2026-11-12/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/gif:https://uniondocs.org/wp-content/uploads/2026/10/giphy-2.gif
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20261105T193000
DTEND;TZID=America/New_York:20261105T193000
DTSTAMP:20261115T183325
CREATED:20261008T172034Z
LAST-MODIFIED:20261012T150413Z
UID:10003098-1793907000-1793907000@uniondocs.org
SUMMARY:A Radical Thread
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text css=””]Doors 7:00p\nProgram 7:30p\nTickets $12[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text]UnionDocs\n352 Onderdonk Ave\nRidgewood\, NY[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_video link=”https://vimeo.com/851422192″][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””]We’re delighted to welcome Jeanne C. Finley for a special screening of her film A Radical Thread\, followed by a conversation with filmmaker Lynne Sachs! \nIn the late 1960s\, hundreds of families seeking an alternative to American consumer culture settled on California’s San Juan Ridge\, building a back-to-the-land community around principles of collective living and environmental stewardship. Over the decades\, they organized against clear-cutting\, river damming\, and open-pit gold mining\, developing models of sustainability and resistance that continue to resonate today. Now\, as climate-driven wildfires threaten the region\, the community faces an increasingly uncertain future. \nA Radical Thread tells this story through an extraordinary 83-foot tapestry\, created over seventeen years by Marsha Stone and a collective of artists and community members. Across twelve embroidered panels\, the tapestry traces the Ridge’s history of struggle\, survival\, and collective action. Bringing together archival footage of poet Gary Snyder\, reflections from Nevada City Rancheria Nisenan spokesperson Shelly Covert\, and the voices of Ridge residents\, Finley explores how a community’s history can be stitched together\, preserved\, and passed on. \nFollowing the screening\, Jeanne C. Finley will join Lynne Sachs for a conversation about collaborative storytelling\, the relationship between art and environmental activism\, and the possibilities of collective memory in the face of ecological change. \nDon’t miss it\, come through![/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nProgram \n[/vc_column_text][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \n\nA Radical Thread\n\n[/vc_column_text][vc_column_text css=””] \n71 minutes\, 2025 \n[/vc_column_text][vc_column_text css=””]A back-to-the-land community fights off corporate Goliaths intent on environmental devastation while using the same collective ethos to stitch an 83-foot tapestry that visualizes their story.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”40px”][vc_single_image image=”147742″ img_size=”full”][vc_column_text] \nWatch the conversation between Presenter1\, Presenter2 and Presenter 3 on the UnionDocs’ Membership hub. \n[/vc_column_text][vc_btn title=”Watch” style=”outline-custom” outline_custom_color=”#ffffff” outline_custom_hover_background=”#adadcc” outline_custom_hover_text=”#0000cd” shape=”round” align=”center” css_animation=”bounceIn”][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nBios \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”166180″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Jeanne C. Finley is a media artist who works in experimental and documentary forms\, including film\, video\, photography\, installation\, Internet\, and site-specific public works. Her work has been exhibited in such international institutions as the Guggenheim Museum. \nMs. Finley’s recent exhibition\, “IMPERFECT CITY\, IMPERFECT STATE” was created in collaboration with John Muse and opened at the Delaware Museum of Contemporary art in the spring of 2013. Since 1989 Ms. Finley has worked with Mr. Muse on many installation and video projects\, including FLAT LAND (2007)\, CLOCKWORK (2006)\, and CATAPULT (2005). In 2005 Finley was an artist-in-residence at the Headlands Center for the Arts. In 2001 she received an Arts-Link fellowship to Sarajevo to create THE HOUSE OF DRAFTS\, a film and website with Bosnian media artists. During 1990 Finley received a Fulbright Fellowship to Yugoslavia where she directed programs for Radio/TV Belgrade. In 1994 she was an artist-in-residence in Istanbul\, Turkey\, through a grant from the Lila Wallace Readers Digest Foundation. \nFinley’s film and video credits include LOST (2006)\, LOSS PREVENTION (2000)\, O NIGHT WITHOUT OBJECTS\, A TRILOGY (1998) A.R.M. AROUND MOSCOW (1993)\, INVOLUNTARY CONVERSION (1991) and NOMADS AT THE 25 DOOR. These tapes have won awards at such international festivals as the San Francisco Film Festival\, Atlanta Film Festival\, Berlin Video Festival\, Toronto Film Festival\, and World Wide Video Festival. \nJeanne currently lives in San Francisco with her husband\, daughter\, and son. Her gallery work is represented by the Patricia Sweetow Gallery and her films are distributed by Video Data Bank\, Women Make Movies\, and Electronic Arts Intermix.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”161935″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Lynne Sachs is a filmmaker and poet living in Brooklyn. She has produced over 50 films as well as numerous live performances\, installations and web projects. Sachs creates cinematic works that defy genre through the use of hybrid forms and cross-disciplinary collaboration\, incorporating elements of the essay film\, collage\, performance\, documentary and poetry. Her films explore the intricate relationship between personal observations and broader historical experiences. With each project\, Lynne investigates the implicit connection between the body\, the camera\, and the materiality of film itself. Lynne discovered her love of filmmaking while living and studying in San Francisco. During this time\, she produced her early\, experimental works on celluloid which took a feminist approach to the creation of images and writing— a commitment which has grounded her body of work ever since. Sachs’s films have screened at MoMA\, Wexner Center for the Arts\, New York Film Festival\, Sundance\, Punto de Vista\, and DocLisboa. Retrospectives of her work have been presented at MoMI\, Ambulante\, Sheffield Doc/Fest\, BAFICI\, Cork\, Costa Rica Int’l Film Fest\, Cámara Lúcida\, and China Women’s Film Festival. In 2021\, Edison and Prismatic Ground Film Festivals honored her body of work in the experimental and documentary fields. Tender Buttons Press published Lynne’s book Year by Year Poems (2019) and Punctum Books will publish her book Hand Book: A Manual on Performance\, Process and the Labor of Laundry (2025) written by Sachs and playwright Lizzie Olesker[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nFrom the Event \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][vc_media_grid style=”pagination” items_per_page=”1″ element_width=”12″ arrows_design=”vc_arrow-icon-arrow_01_left” arrows_position=”outside” arrows_color=”white” loop=”yes” item=”136647″ grid_id=”vc_gid:1791479457304-6789f1dc-f533-9″ include=”147747\,147746\,147745″][vc_empty_space height=”30px”][/vc_column][/vc_row]
URL:https://uniondocs.org/event/a-radical-thread-2026-11-05/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/gif:https://uniondocs.org/wp-content/uploads/2026/10/gif-17.gif
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20261022T193000
DTEND;TZID=America/New_York:20261022T193000
DTSTAMP:20261115T183325
CREATED:20261005T161914Z
LAST-MODIFIED:20261020T182529Z
UID:10003097-1792697400-1792697400@uniondocs.org
SUMMARY:The Lost Season
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text css=””]Doors 7:00p\nProgram 7:30p\nTickets $12[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text]UnionDocs\n352 Onderdonk Ave\nRidgewood\, NY[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_video link=”https://vimeo.com/851422192″][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””]We’re delighted to kick off our workshop Uneasy Arrangements: Collage\, Animation & the Archive with a special screening and conversation with workshop lead\, the brilliant Kelly Sears! \nSeasons vanish mid-frame. A telephoto lens reveals a spirit dimension. A cross-species rebellion is sparked by instigators in plain sight. \nKelly Sears’ films traverse the uncanny terrain between documentary and speculative fiction. Using experimental animation techniques\, Sears reconfigures archival and original imagery through collage and layering\, opening portals to alternate narratives. Each frame becomes a site of possibility\, where histories are reexamined and futures imagined. \nThis program spans nearly two decades of cutting\, collaging\, and merging thousands of filmic and photographic fragments into worlds at once familiar and fantastic. Kelly will be in conversation with writer\, educator and editor Catherine Taylor following the screening. \nCome through![/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nProgram \n[/vc_column_text][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nThe Lost Season\n[/vc_column_text][vc_column_text css=””]2023\, TRT 6:09\, US[/vc_column_text][vc_column_text css=””]Earth is experiencing its final winter. A giant streaming company hires all available camera operators to document the last weeks of this soon-to-be-lost season. As the workers begin to view their footage as a form of ecological extraction\, they refuse to further commodify climate collapse through their labor. The film was created from thousands of photographs gathered during weeks of walking through snowy landscapes in New Hampshire and eroding beaches in Florida.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nMaximum Umbra\n[/vc_column_text][vc_column_text css=””]2021\, TRT 3:09\, US[/vc_column_text][vc_column_text css=””]Shot on location in Scottsbluff\, Nebraska\, during the 2017 total solar eclipse\, the film captures an unexpected celestial disaster.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nVoice on the Line\n[/vc_column_text][vc_column_text css=””]2009\, TRT 6:45\, US[/vc_column_text][vc_column_text css=””]Figures from archival films from the 1950s are recast in a large-scale secretive telephone operation\, drawing on troubled relationships between the areas of national security\, civil liberties\, and communication corporations. The covert project in this film transforms from one of surveillance into one of discovery.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nThe Body Besieged \n[/vc_column_text][vc_column_text css=””]2009\, TRT 4:00\, US[/vc_column_text][vc_column_text css=””]Animated instructional photographs from yoga and exercise books explore themes of possession that distort and mirror our daily routines. These bodies point toward haunted forces that may lie behind a broader sense of cultural unwellness.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nOnce It Started It Could Not End Otherwise \n[/vc_column_text][vc_column_text css=””]2011\, TRT 7:30\, US[/vc_column_text][vc_column_text css=””]Figures from discarded mid-1970s high school yearbooks are recast in a minimalist horror story. A malevolent force seeps into the high school walls\, and the student body breaks down one extra-curricular activity at a time.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nApplied Pressure 2018\n[/vc_column_text][vc_column_text css=””]TRT 6:20\, US[/vc_column_text][vc_column_text css=””]Sequential images sourced from dozens of massage books are altered and reordered to shift the emphasis from actions performed on the body to the body’s reception of touch. The animation channels conversations surrounding bodies\, massage\, and power to explore the hidden nature of sexual assault.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nThe Drift\n[/vc_column_text][vc_column_text css=””]2007\, TRT 8:20\, US[/vc_column_text][vc_column_text css=””]A mysterious disappearance during a 1960s space journey launches the counterculture revolution\, the government blocks contraband radio broadcasts\, and American fervor for conquering space finally goes too far.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nPattern for Survival\n[/vc_column_text][vc_column_text css=””]2015\, TRT 6:27\, US[/vc_column_text][vc_column_text css=””]Pattern for Survival channels the frenetic energy and aggression of security protocols. Potential threats are rendered as routine directives. As you read the rest of this manual\, keep in mind the need for a survival strategy.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nThe Call \n[/vc_column_text][vc_column_text css=””]2025\, TRT 7:06\, US[/vc_column_text][vc_column_text css=””]An eco-rebellion film featuring unlikely instigators who were observed and filmed over three years at airports across the United States. My home airport sits within a major migration corridor\, creating constant conflict between expanding infrastructure and migratory birds. It’s one of the fastest-expanding airports in the world\, with new terminal additions and increasing air traffic each year.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nHigh in the Grass\n[/vc_column_text][vc_column_text css=””]2021\, TRT 4:04\, US[/vc_column_text][vc_column_text css=””]In this music video commissioned by Sleater-Kinney\, imagery that could read as horrific transforms into something euphoric. In this hybrid live-action and animated world\, I imagine liberatory forms of healing and ecstatic collaboration. Dozens of layers of hand-painted film reverberate across bodies and landscapes\, rebuilding them in a kinetic world where figures pass heads between one another and CPR-inspired dance movements become gestures of collective care.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nProgram Duration: 61 mins \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”40px”][vc_single_image image=”147742″ img_size=”full”][vc_column_text] \nWatch the conversation between Presenter1\, Presenter2 and Presenter 3 on the UnionDocs’ Membership hub. \n[/vc_column_text][vc_btn title=”Watch” style=”outline-custom” outline_custom_color=”#ffffff” outline_custom_hover_background=”#adadcc” outline_custom_hover_text=”#0000cd” shape=”round” align=”center” css_animation=”bounceIn”][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nBios \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”165236″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Kelly Sears uses experimental animation to reconfigure familiar source imagery. Her films move between documentary and speculative fiction\, reimagining social and political pasts and possible futures. Through cutting and collage\, she untethers images from their intended use\, creating slippages between the familiar and the fantastic. \nHer films have been screened at festivals such as Sundance\, Slamdance\, South by Southwest\, the American Film Institute\, the International Film Festival Rotterdam\, and museums such as MoMA\, the Hammer Museum\, and the Eye Filmmuseum in Amsterdam. She is an Associate Professor in the Cinema Studies and Moving Image Arts Department and Director of the Brakhage Center at the University of Colorado Boulder.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”166094″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Catherine Taylor is a writer\, editor\, and educator who works in a wide range of forms—from documentary and literary journalism to hybrid-genre texts. She is the author of Image Text Music (MACK Books); You\, Me\, and the Violence (Mad Creek-21st Century Essays)\, on puppets\, drones\, and power\, and of Apart (Ugly Duckling Presse)\, a mixed-genre memoir and political history that combines prose\, poetry\, cultural theory\, and found texts from South African archives. Her first book\, Giving Birth: A Journey Into the World of Mothers and Midwives (Penguin Putnam)\, won the Lamaze International Birth Advocate Award. Taylor was a co-founder and producer of The Human Rights Watch Film Festival and is a founding editor of Essay Press\, an independent press dedicated to publishing innovative essays in book form. She received her Ph.D. from Duke University and is the Co-Director of the Image Text Ithaca MFA and Press at Cornell University.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nFrom the Event \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][vc_media_grid style=”pagination” items_per_page=”1″ element_width=”12″ arrows_design=”vc_arrow-icon-arrow_01_left” arrows_position=”outside” arrows_color=”white” loop=”yes” item=”136647″ grid_id=”vc_gid:1792520673271-482335a8-0de2-6″ include=”147747\,147746\,147745″][vc_empty_space height=”30px”][/vc_column][/vc_row]
URL:https://uniondocs.org/event/the-lost-season-2026-10-22/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/gif:https://uniondocs.org/wp-content/uploads/2026/10/gif-16.gif
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20261018T193000
DTEND;TZID=America/New_York:20261018T193000
DTSTAMP:20261115T183325
CREATED:20261001T165243Z
LAST-MODIFIED:20261018T202746Z
UID:10003096-1792351800-1792351800@uniondocs.org
SUMMARY:Showgirls of Pakistan
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text css=””]Doors 7:00p\nProgram 7:30p[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text css=””]UnionDocs\n352 Onderdonk Ave\nRidgewood\, NY[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_video link=”https://vimeo.com/851422192″][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””]Join our friends from 犄角旮旯 Nooks & Crannies\, for a night to celebrate Queer History Month\, with Khajistan and DecrimNY! Showgirls of Pakistan follows three mujra dancers in Punjabi theater business and the fight to play by their own rules. The filmmakers Saad Khan (Director)\, Joey Chriqui (Art Director\, Co-Editor) will be present for the night\, who will share their creative journey\, not only for this documentary\, but creating Khajistan\, a New York-based archive and press preserving censored\, banned\, and overlooked print and audiovisual culture from the Middle World. A selection of publications and merch will be available from Khajistan. Artist Pranav Sood will guide us in a conversation following the screening. \nThe event is also a fundraiser supporting DecrimNY to decriminalize\, decarcerate and destigmatize the s*x trades in NY. Special thanks to co-programmer Del Holton. Come through![/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nProgram \n[/vc_column_text][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nShowgirls of Pakistan\n[/vc_column_text][vc_column_text css=””]Pakistan / USA\, 2020\, 106 minutes[/vc_column_text][vc_column_text css=””]Enter the universe of three mujra dancers in Pakistan as they dodge state censors and violence to vie for stardom. Intimate vérité\, phone calls\, social media streams\, and home videos provide a never-before-seen look into the underbelly of the Punjabi theater business and the women who fight to play by their own rules.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nProgram Duration: 106 mins \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”40px”][vc_single_image image=”147742″ img_size=”full”][vc_column_text] \nWatch the conversation between Presenter1\, Presenter2 and Presenter 3 on the UnionDocs’ Membership hub. \n[/vc_column_text][vc_btn title=”Watch” style=”outline-custom” outline_custom_color=”#ffffff” outline_custom_hover_background=”#adadcc” outline_custom_hover_text=”#0000cd” shape=”round” align=”center” css_animation=”bounceIn”][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nBios \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”166018″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Saad Khan is a Pakistani filmmaker\, writer\, and archivist based in New York. He is the founder and director of Khajistan\, an archive and publishing project dedicated to preserving censored\, overlooked\, and disappearing media from across the Middle World. His films include Showgirls of Pakistan (2020)\, Qandeel (2017)\, and Chuppan Chupai (2013). His work spans documentary film\, archival research\, publishing\, and the preservation of vernacular print and media cultures.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”166019″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Joey Chriqui is a New York-based creative director\, designer\, and artist whose work spans exhibition design\, visual identity\, publishing\, and spatial installation. He served as art director and co-editor of Showgirls of Pakistan (2020) and is Creative Director of Khajistan\, where he develops the project’s visual language across exhibitions\, publications\, installations\, and archival projects. His practice draws on vernacular design\, material culture\, and the visual languages of the Middle East and North Africa.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”166275″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Pranav Sood is a New York-based artist exploring divinity\, personal growth\, and the human spirit. Through intricate patterns and vibrant colors\, his paintings reflect his journey of self-acceptance and resilience\, turning personal struggles into universal narratives.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nFrom the Event \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][vc_media_grid style=”pagination” items_per_page=”1″ element_width=”12″ arrows_design=”vc_arrow-icon-arrow_01_left” arrows_position=”outside” arrows_color=”white” loop=”yes” item=”136647″ grid_id=”vc_gid:1792355251354-e140528c-f8ca-3″ include=”147747\,147746\,147745″][vc_empty_space height=”30px”][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_video link=”https://vimeo.com/851422192″][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”40px”][vc_column_text] \nWatch the conversation between Presenter1\, Presenter2 and Presenter 3 on the UnionDocs’ Membership hub. \n[/vc_column_text][vc_single_image image=”147742″ img_size=”full”][vc_btn title=”Watch” style=”outline-custom” outline_custom_color=”#ffffff” outline_custom_hover_background=”#adadcc” outline_custom_hover_text=”#0000cd” shape=”round” align=”center” css_animation=”bounceIn”][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nFrom the Event \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][vc_media_grid style=”pagination” items_per_page=”1″ element_width=”12″ arrows_design=”vc_arrow-icon-arrow_01_left” arrows_position=”outside” arrows_color=”white” loop=”yes” item=”136647″ grid_id=”vc_gid:1792355251356-7ab7e335-e011-1″ include=”147747\,147746\,147745″][vc_empty_space height=”30px”][/vc_column][/vc_row]
URL:https://uniondocs.org/event/showgirls-of-pakistan-2026-10-18/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/gif:https://uniondocs.org/wp-content/uploads/2026/10/shpgif.gif
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20261008T193000
DTEND;TZID=America/New_York:20261008T193000
DTSTAMP:20261115T183325
CREATED:20260925T154443Z
LAST-MODIFIED:20261007T235303Z
UID:10003094-1791487800-1791487800@uniondocs.org
SUMMARY:We're Sick to Death of All This Nonsense: divas de mas muertas
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text css=””]Doors 7pm\nProgram 7:30p\nTickets $15[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text]UnionDocs\n352 Onderdonk Ave\nRidgewood\, NY[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_video link=”https://vimeo.com/851422192″][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””]Welcome to another round of our multimedia series combining live performance\, reading\, sound and image selected by poet Christine Larusso & writer and curator Rachael Rakes: We’re Sick to Death of All This Nonsense. It’s not ekphrasis. WS2DOATN is a live series merging words\, sounds\, and moving images\, intended to reframe—or unframe—what constitutes the poetic\, the time-based\, the time-less\, the urgent and endurant in art and discourse\n \nLet us present to you\, round four—Divas de Mas Muertas. \nA true diva never really dies\, does she? It’s October. It’s time to invoke those  merely  departed from this plane\, them baddie in our bones\, keeping us keeping the flame.  We\, the nearly departed\, will lay the marigolds on the altar together. Literally\, bring your objects\, amulets\, and spells along. \nThis edition features readings from poets Dorothea Lasky\, Marisa Crawford\, & Hafizah Geter alongside Jesse McLean’s short film\, Somewhere Only We Know and Cecelia Condit’s Possibly in Michigan. \nEach edition begins with the prompt of one word or phrase —from English and several other languages\, which will be turned about through the program—with the composition of works\, live performances\, and other interjections openly combining with the desperate hells and imaginaries of the day. From this\, we aim to follow the threads that unspool from this combination of fragments\, feelings\, artworks\, and impermanence of the moment\, guests\, and audience.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nProgram \n[/vc_column_text][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nOpening from hosts Rachael Rakes & Christine Larusso\n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nReading from Dorothea Lasky \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nReading from Hafizah Geter \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nReading from Marisa Crawford\n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nSomewhere Only We Know by Jesse McLean\n[/vc_column_text][vc_column_text css=””]5 min\, 2009[/vc_column_text][vc_column_text css=””]Standing on the brink of elimination\, the suspense threatening to fracture their composure\, contestants wait and see if they will be going home. The audience at home is also waiting…[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nPossibly in Michigan by Cecelia Condit\n[/vc_column_text][vc_column_text css=””]12 min\, 1987[/vc_column_text][vc_column_text css=””]Possibly In Michigan is an operatic fairytale about cannibalism in Middle America. A masked man stalks a woman through a shopping mall and follows her home. In the end\, their roles are reversed when the heroine deposits a mysterious Hefty bag at the curb. Like Condit’s other video narratives\, Possibly In Michigan shows bizarre events disrupting mundane lives. Combining the commonplace with the macabre\, humor with the absurd\, she constructs a world of divided reality.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_single_image image=”147742″ img_size=”full”][vc_column_text] \nWatch the conversation between Presenter1\, Presenter2 and Presenter 3 on the UnionDocs’ Membership hub. \n[/vc_column_text][vc_btn title=”Watch” style=”outline-custom” outline_custom_color=”#ffffff” outline_custom_hover_background=”#adadcc” outline_custom_hover_text=”#0000cd” shape=”round” align=”center” css_animation=”bounceIn”][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nBios \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”165818″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””] \nHafizah Augustus Geter is a Nigerian/U.S. writer born in Zaria\, Nigeria\, and raised in Ohio and South Carolina. She is a Hawthornden fellow in fiction\, a Civitella Ranieri nonfiction fellow\,  a Bread Loaf Katherine Bakeless nonfiction fellow\, and a Cave Canem poetry fellow. Her memoir\, The Black Period: On Personhood\, Race & Origin (Random House)\, won a PEN Open Book Award\, and a  Lammy Award in LGBTQ+ Nonfiction from Lambda Literary\, and was a New Yorker Magazine Best Book\, a Good Morning America Anticipated Book\, an Amazon’s Best of the Month Editor’s Pick\, and a finalist for the Chautauqua Prize. ​She is the author of the poetry collection Un-American (Wesleyan)\, nominated for a NAACP Image Award\, finalist for the PEN Open Book Award\, and longlisted for a Brooklyn Public Library Literary Prize. She is a literary agent at Janklow & Nesbit where she represents a diverse range of fiction and nonfiction. She lives in Brooklyn\, NY.​ \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”165946″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Dorothea Lasky is the author of several poetry books\, most recently\, MOTHER (Wave Books\, 2026) and The Shining (Wave Books\, 2023). Her other poetry books include: Milk (Wave Books\, 2018)\, Rome (Liveright/W.W. Norton\, 2014)\, Thunderbird (Wave Books\, 2012)\, Black Life (Wave Books\, 2010)\, and AWE (Wave Books\, 2007). She is also the author of Animal\, published in 2019 in the Bagley Wright Lecture Series and MEMORY (Semiotext(e)\, 2025)\, as well as a future book about Sappho. She is the editor of Essays (Essay Press\, 2023) and a coeditor of Open the Door: How to Excite Young People About Poetry (McSweeney’s\, 2013). Her first novel\, Katie\, is forthcoming from HarperCollins. Her writing has appeared in Poetry\, The New Yorker\, American Poetry Review\, and The Paris Review\, among other places. She holds a doctorate in creativity and education from the University of Pennsylvania. Currently\, she is an Associate Professor of Poetry at Columbia University’s School of the Arts\, where she directs the Poetry program. She lives in New York City.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”166142″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Marisa Crawford is the author of the poetry collections Diary\, Reversible\, and The Haunted House. She is the editor of The Weird Sister Collection\, and co-editor\, with Megan Milks\, of We Are The Baby-Sitters Club. She lives in New York.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”161175″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Christine Larusso holds a BA from Fordham University (Lincoln Center) and an MFA in Creative Writing from New York University. Her poetry has appeared or is forthcoming in Bomb Magazine\, Volume\, the Colorado Review\, Wildness\, the Los Angeles Times\, the Literary Review\, Pleiades\, Court Green\, Narrative\, and elsewhere. She was a Producer for Rachel Zucker’s podcast\, Commonplace\, and was a co-founder of the Commonplace School. She lives in Los Angeles most of the time.\n \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”152994″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Rachael Rakes is a writer\, curator\, educator\, and researcher. She was recently the Artistic Director of the 12th Seoul Mediacity Biennale\, 2023. Currently Rakes is a Committee Member of the New York Film Festival\, an Editor at Large for Verso Books\, and a Contributing Editor for INFRASONICA.With Laura Huertas Millán and Onyeka Igwe\, she organizes the artistic research initiative on co-subjective encounters\, Counter-Encounters. From 2019–2022 she was the Curator for Public Practice at BAK basis voor actuele kunst\, Utrecht. Until 2019\, she was the Head Curator and Manager of the Curatorial Programme at De Appel in Amsterdam. Rakes teaches in the Artificial Times Masters department at Sandberg\, on Curating the moving image at Leiden University\, and taught recently for the Parsons School of Art\, Zine Eskola\, HKU\, KASK\, Eugene Lang College\, and Harvard University. Rakes is editor of the publications This\, Too\, Is a Map (2023\, Sema/[NAME])\, Toward the Not-Yet (2021\, BAK/MIT Press)\, and Practice Space (2019\, [NAME]/De Appel) and frequently publishes as a critic and essayist.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nFrom the Event \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][vc_media_grid style=”pagination” items_per_page=”1″ element_width=”12″ arrows_design=”vc_arrow-icon-arrow_01_left” arrows_position=”outside” arrows_color=”white” loop=”yes” item=”136647″ grid_id=”vc_gid:1791417143831-1b67c77a-5a97-10″ include=”147747\,147746\,147745″][vc_empty_space height=”30px”][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nFrom the Event \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][vc_media_grid style=”pagination” items_per_page=”1″ element_width=”12″ arrows_design=”vc_arrow-icon-arrow_01_left” arrows_position=”outside” arrows_color=”white” loop=”yes” item=”136647″ grid_id=”vc_gid:1791417143831-9e9e9584-9140-5″ include=”147747\,147746\,147745″][vc_empty_space height=”30px”][/vc_column][/vc_row]
URL:https://uniondocs.org/event/were-sick-to-death-of-all-this-nonsense-divas-de-mas-muertas/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/webp:https://uniondocs.org/wp-content/uploads/2026/09/Somewhere.webp
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20261004T193000
DTEND;TZID=America/New_York:20261004T193000
DTSTAMP:20261115T183325
CREATED:20260901T085209Z
LAST-MODIFIED:20260924T174654Z
UID:10003090-1791142200-1791142200@uniondocs.org
SUMMARY:Under the Sky of Fetishes
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text css=””]Doors 7:00p\nProgram 7:30p\nTickets $12[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text]UnionDocs\n352 Onderdonk Ave\nRidgewood\, NY[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_video link=”https://vimeo.com/851422192″][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””]We’re delighted to welcome Caroline Déodat for a special evening of films and conversation with writer\, researcher\, and film programmer Yasmina Price! \nWorking at the intersection of ethnography and fabulation\, archival research and critical theory\, Déodat’s films explore the spectral lives of images and the histories of violence that continue to haunt them. Moving through colonial archives\, personal genealogies\, myth\, dance\, and landscape\, her work asks how histories erased or distorted by dominant narratives might be encountered otherwise. \nThe evening will bring together three of Déodat’s films\, Landslides (2020)\, Under the Sky of the Fetishes (2023)\, and her newest work\, Nostra Memoria (2026). Across these works\, Déodat traces the enduring imaginaries of slavery\, colonialism\, fascism\, and Empire\, while experimenting with forms that unsettle the authority of the archive and the hegemony of the visible. \nFollowing the screening\, Déodat will join Yasmina Price in a conversation about their shared work around African and Afro-diasporic expressive cultures\, aesthetic remembrance and the politics of camera-based technologies. \nDon’t miss it\, come through![/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nProgram \n[/vc_column_text][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \n\nUnder The Sky Of The Fetishes (Sous Le Ciel Des Fétiches)\n\n[/vc_column_text][vc_column_text css=””]HD video\, ~17 minutes\, 2023[/vc_column_text][vc_column_text css=””]Under The Sky Of Fetishes responds to the complexity of showing the ubiquitous presence of colonial archives. The film reinvests the spectres of a haunting gaze to tell the story of Mauritian sega – a practice of dance and music born during the slavery period within communities of fugitives. How do we project – literally bring out of ourselves – the narrative of the aggressor?[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \n\nNostra Memoria\n\n[/vc_column_text][vc_column_text css=””]HD video\, 19 minutes\, 2026.[/vc_column_text][vc_column_text css=””]Nostra Memoria is a film-collage shot in Rome\, Italy\, that examines the precariousness of modern citizenship and the enduring imaginaries of fascism\, slavery\, and Empire through the figure of the foreigner. Set in the gardens of the Villa Medici\, a place haunted both by the legacy of its founder Colbert and by the canon of Western art\, the film brings together personal archives\, documentary footage\, analog animation\, and peplum imagery. These fragments interrogate the persistent obsession with national origins\, purity\, and heritage\, revealing the political fictions through which Empire continues to shape our understanding with the notion of origins. Multiple women’s voices come together around a polyphony of intimate narratives\, historical facts\, and myths\, as a way of writing history or caring for the dead.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \n\nLandslides\n\n[/vc_column_text][vc_column_text css=””]HD video\, 12 minutes\, 2020.[/vc_column_text][vc_column_text css=””]Landslides is a cinematographic essay/poem where fictional images are created from research about a Mauritian ritual born during the slavery period. The contemporary Mauritian dancer Jean-Renat Anamah crosses mythical territories of Sega which combine with intimate places of my own story. From the pixel of digital image and the shadow of electronic rhythm\, this film exhumes in layers of landscapes the spectrum of a ritual erased by History through a personal genealogy: between hauntological memory and delayed archive.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”40px”][vc_single_image image=”147742″ img_size=”full”][vc_column_text] \nWatch the conversation between Presenter1\, Presenter2 and Presenter 3 on the UnionDocs’ Membership hub. \n[/vc_column_text][vc_btn title=”Watch” style=”outline-custom” outline_custom_color=”#ffffff” outline_custom_hover_background=”#adadcc” outline_custom_hover_text=”#0000cd” shape=”round” align=”center” css_animation=”bounceIn”][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nBios \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”165217″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Caroline Déodat’s practice operates at the intersection of ethnography and fabulation\, archival research and critical theory. Her work explores the spectral dimension of the moving image\, its capacity to haunt as well as processes of alienation\, myths\, and histories of violence in response to punitive architectures. Through film and installation\, she seeks to create conditions of enunciation that unsettle disciplinary cartographies and challenge the hegemony of the visible. \nHolding a PhD in Anthropology (EHESS)\, she completed the postgraduate Art program at the École nationale supérieure des beaux-arts de Lyon (ENSBA Lyon). Déodat’s work has been shown at the Reina Sofía Museum in Madrid\, in international festivals such as Jih.lava International Documentary Film Festival\, at the Sandretto Re Rebaudengo Foundation in Turin\, at the 14th Bamako Encounters\, at the CAPC – Museum of Contemporary Art of the City of Bordeaux\, and soon at the 16th Dakar Biennale. \nHer book Dans la polyphonie d’une île. Les ficitions coloniales du séga mauricien\n(Éditions B42) has been awarded by the Nicolás Cristóbal Guillén Batista Philosophical\nLiterature Outstanding Book Award from The Caribbean Philosophical Association in\n2025.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”165582″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Yasmina Price is a New York–based writer and film programmer. She is devoted to visual culture from the African continent and diaspora\, anticolonial cinema\, and the experimental work of women filmmakers. Her work pays particular attention to the materiality of image-making and the politics of memory. She has programmed at Anthology Film Archives\, Light Industry\, Maysles Documentary Center\, e-flux\, the Brooklyn Academy of Music\, the Los Angeles County Museum of Art\, the Pan African Film & Arts Festival\, and the National Gallery of Art. Her writing has appeared in edited volumes\, museum catalogues and journals such as The Nation\, Film Quarterly\, The Baffler\, MUBI’s Notebook\, Hammer & Hope\, World Records Journal and Criterion’s Current. She holds a Ph.D. in Black Studies and Film & Media Studies from Yale University.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nFrom the Event \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][vc_media_grid style=”pagination” items_per_page=”1″ element_width=”12″ arrows_design=”vc_arrow-icon-arrow_01_left” arrows_position=”outside” arrows_color=”white” loop=”yes” item=”136647″ grid_id=”vc_gid:1789132290503-1d9982a9-4b31-8″ include=”147747\,147746\,147745″][vc_empty_space height=”30px”][/vc_column][/vc_row]
URL:https://uniondocs.org/event/under-the-sky-of-fetishes-2026-10-04/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/gif:https://uniondocs.org/wp-content/uploads/2026/09/gif-14.gif
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20261002T193000
DTEND;TZID=America/New_York:20261002T193000
DTSTAMP:20261115T183325
CREATED:20260818T161418Z
LAST-MODIFIED:20260923T154208Z
UID:10003088-1790969400-1790969400@uniondocs.org
SUMMARY:Zodiac Killer Project
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text css=””]Doors 7:00p\nProgram 7:30p\nTickets $12[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text]UnionDocs\n352 Onderdonk Ave\nRidgewood\, NY[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_video link=”https://vimeo.com/851422192″][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””]We’re delighted to kick off our workshop Tell Don’t Show: Adventures in First-Person Filmmaking with a special screening and conversation with workshop lead\, the brilliant essay filmmaker Charlie Shackleton! \nIn Camera Test (King Cadbury)\, a routine camera test spirals into an investigation of a mysterious mid-century Cadbury’s commercial\, preserved in Shackleton’s family mythology despite there being no evidence that it ever existed. A documentary readymade about memory\, family lore\, and chocolate biscuits\, the film offers a compact introduction to Shackleton’s singular first-person approach. \nWinner of the NEXT Innovator Award at the 2025 Sundance Film Festival\, Zodiac Killer Project begins with another unrealized object: the true crime documentary Shackleton tried and failed to make. Narrating the abandoned project beat by beat over vacant Bay Area landscapes\, stylized re-enactments\, and fragments of contemporary true crime\, Shackleton conjures the film that might have been while dismantling the genre’s familiar tricks and conventions along the way. Dryly funny\, formally inventive\, and sharply critical\, the film turns creative frustration itself into a method. \nFollowing the screening\, Charlie Shackleton will be joined in conversation by filmmaker David Osit. \nCome through![/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nProgram \n[/vc_column_text][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nCamera Test (King Cadbury) by Charlie Shackleton\n[/vc_column_text][vc_column_text css=””] UK / 2024 / 7min[/vc_column_text][vc_column_text css=””]A documentary readymade about family lore and chocolate biscuits.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nZodiac Killer Project by Charlie Shackleton\n[/vc_column_text][vc_column_text css=””] US/UK / 2025 / 92min[/vc_column_text][vc_column_text css=””]Having tried and failed to make a true crime documentary\, filmmaker Charlie Shackleton tells the story of what might have been.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nProgram Duration: 99 mins \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”40px”][vc_single_image image=”147742″ img_size=”full”][vc_column_text] \nWatch the conversation between Presenter1\, Presenter2 and Presenter 3 on the UnionDocs’ Membership hub. \n[/vc_column_text][vc_btn title=”Watch” style=”outline-custom” outline_custom_color=”#ffffff” outline_custom_hover_background=”#adadcc” outline_custom_hover_text=”#0000cd” shape=”round” align=”center” css_animation=”bounceIn”][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nBios \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”164699″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Charlie Shackleton is a nonfiction filmmaker working across film\, television\, radio\, and immersive media. He is one third of the London-based production outfit Loop. His latest film Zodiac Killer Project premiered at the 2025 Sundance Film Festival\, where it won the NEXT Innovator Award.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”165730″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]David Osit is a three-time Emmy and Peabody Award-winning documentary film director\, editor and composer. He is the director of PREDATORS (2025) which premiered at the 2025 Sundance Film Festival. The film was named one of the best films of the year by the New York Times and Indiewire\, and was released in theaters across the US and UK in Fall 2025 before premiering on Paramount+ worldwide in December 2025. His film MAYOR (2020) was released in over 80 cinemas across the US\, was a New York Times Critic’s Pick\, played at hundreds of film festivals worldwide\, broadcast on POV\, and won an Emmy for Outstanding Political + Government Documentary. His film THANK YOU FOR PLAYING (2015) premiered at the Tribeca Film Festival\, also broadcast on POV\, and was nominated for three Emmys\, winning for Outstanding Arts + Culture Documentary. He is a member of the Academy of Motion Picture Arts and Sciences.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nFrom the Event \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][vc_media_grid style=”pagination” items_per_page=”1″ element_width=”12″ arrows_design=”vc_arrow-icon-arrow_01_left” arrows_position=”outside” arrows_color=”white” loop=”yes” item=”136647″ grid_id=”vc_gid:1790178008653-1ce0c530-a137-3″ include=”147747\,147746\,147745″][vc_empty_space height=”30px”][/vc_column][/vc_row]
URL:https://uniondocs.org/event/zodiac-killer-2026-10-02/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/gif:https://uniondocs.org/wp-content/uploads/2026/08/gif-11.gif
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20261001T193000
DTEND;TZID=America/New_York:20261001T193000
DTSTAMP:20261115T183325
CREATED:20260818T161216Z
LAST-MODIFIED:20261001T201533Z
UID:10003093-1790883000-1790883000@uniondocs.org
SUMMARY:Fall of Freedom — Under Pressure: How to Document  "Unprecedented Times"
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text css=””]Doors 7:00p\nProgram 7:30p\nTickets $12[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text]UnionDocs\n352 Onderdonk Ave\nRidgewood\, NY[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_video link=”https://vimeo.com/851422192″][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””]How do documentary makers continue to work critically\, responsibly\, and safely in a rapidly shifting political landscape\, and one that is increasingly threatening to those organizing and documenting on the ground? \nPresented as part of Fall of Freedom\, this conversation brings together filmmakers and collaborators Rachel Lauren Mueller and Laura Poitras\, with radio producer and Radiolab creator Jad Abumrad to consider the practical and ethical questions facing political documentary in the United States today.  \nDrawing from their experiences across on-the-ground organizing\, investigative film\, journalism\, data\, sound\, and nonfiction storytelling they’ll discuss how makers navigate access and risk\, protect sources and collaborators\, safeguard their teams and materials\, and think carefully about what it means to document politically sensitive subjects in a moment of heightened scrutiny\, using Laura and Rachels’ recent collaboration on the documentary “They’re Here” about ICE’s occupation of Minneapolis\, as a starting point.  \nWe’ll unfold a conversation about the infrastructures at play: technical\, ethical\, and communal that make rigorous and independent documentary work possible\, and think through the practicalities of how we might strengthen them together.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”40px”][vc_single_image image=”147742″ img_size=”full”][vc_column_text] \nWatch the conversation between Presenter1\, Presenter2 and Presenter 3 on the UnionDocs’ Membership hub. \n[/vc_column_text][vc_btn title=”Watch” style=”outline-custom” outline_custom_color=”#ffffff” outline_custom_hover_background=”#adadcc” outline_custom_hover_text=”#0000cd” shape=”round” align=”center” css_animation=”bounceIn”][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nBios \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”165721″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Rachel Lauren Mueller is an award-winning documentary filmmaker\, journalist\, and cinematographer. Her work combines investigative journalism with an anthropological approach to illuminate the hidden structures shaping power\, belief\, and identity. Rachel’s award-winning work has been featured in The New York Times\, PBS\, and Al Jazeera. \nRachel Lauren Mueller creates immersive films that reveal how systems of power operate—and how people resist\, adapt\, and find meaning within them. Her work has examined abuse cover-ups in juvenile detention centers\, white supremacist efforts to reshape small-town communities\, the ICE occupation of the Twin Cities\, the reimagining of religious rituals for queer people\, and more[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”165695″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Laura Poitras is an Oscar and Pulitzer Prize winning filmmaker and journalist. \nHer most recent film\, All the Beauty and the Bloodshed\, premiered at the Venice Film Festival where it won the Golden Lion\, only the second documentary to win the top prize in the festival’s history. The film was nominated for an Academy Award\, won an Independent Spirit Award\, and was named best documentary of the year by New York Film Critics Circle\, Los Angeles Film Critics Association\, and the National Society of Film Critics. \nHer film CITIZENFOUR won an Academy Award for Best Documentary\, along with awards from BAFTA\, Directors Guild of America\, Independent Spirit Awards\, Gotham Awards\, German Filmpreis\, and Cinema Eye Honors\, among others. Her journalism exposing the U.S. National Security Agency’s global mass surveillance programs was awarded the Pulitzer Prize for Public Service\, and the George Polk Award for National Security reporting. \nHer Oscar-nominated film My Country\, My Country\, the first film in her Post-9/11 Trilogy\, documents the U.S. occupation of Iraq. The second film of the trilogy\, the Emmy-nominated The Oath\, documents Guantanamo Bay Prison and the U.S. “war on terror.”[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”165696″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Jad Abumrad is the creator and former host of Radiolab\, a public radio program broadcast on nearly 600 stations across the nation and downloaded more than 12 million times a month as a podcast. Abumrad hosts Everything. Together. Radio on Apple Music Hits. Each episode offers a kaleidoscopic mix of uptempo\, electro\, dance\, funk\, hip-hop\, experimental noise\, soul\, and everything in between.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nFrom the Event \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][vc_media_grid style=”pagination” items_per_page=”1″ element_width=”12″ arrows_design=”vc_arrow-icon-arrow_01_left” arrows_position=”outside” arrows_color=”white” loop=”yes” item=”136647″ grid_id=”vc_gid:1790177636383-b3d340f8-e6c4-6″ include=”147747\,147746\,147745″][vc_empty_space height=”30px”][/vc_column][/vc_row]
URL:https://uniondocs.org/event/fall-of-freedom-under-pressure-how-to-document-unprecedented-times-2026-10-01/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2026/09/Theyre-Here-CREDIT-Courtesy-of-Jack-Califano-.jpeg
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260927T193000
DTEND;TZID=America/New_York:20260927T193000
DTSTAMP:20261115T183325
CREATED:20260818T160527Z
LAST-MODIFIED:20260927T151805Z
UID:10003092-1790537400-1790537400@uniondocs.org
SUMMARY:Narcisa Hirsch: Graffiti\, Film & Political Gesture
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text css=””]Doors 7:00p\nProgram 7:30p\nTickets $12[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text]UnionDocs\n352 Onderdonk Ave\nRidgewood\, NY[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_video link=”https://vimeo.com/851422192″][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””]We’re delighted to welcome filmmaker and artist Jessica Sarah Rinland back to UnionDocs for a special evening of performance\, reading\, and moving images exploring the work of pioneering Argentine experimental filmmaker and artist Narcisa Hirsch. \nThe evening emerges from Rinland’s ongoing work on a book centered on Hirsch’s graffiti made during Argentina’s 1976–83 military dictatorship.  The project considers graffiti as a political and artistic gesture\, and as one part of Hirsch’s expansive practice across film\, performance\, photography\, and public intervention. \nFor this program\, Rinland will present a performance and reading from her developing research alongside a selection of Hirsch’s films\, opening up connections between her moving-image work and the gestures\, inscriptions\, and interventions she made beyond the screen. Together\, the works offer a way into Hirsch’s singular practice while tracing a broader history of political graffiti and the possibilities of making images and marks under conditions of repression. \nFilmmaker and artist Julián d´Angiolillo will be in conversation with Jessica. Join us for an evening moving across cinema\, performance\, writing\, and the street\, and for a close encounter with an extraordinary body of work through Rinland’s ongoing research. Come through![/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nProgram \n[/vc_column_text][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nPerformance & Reading by Jessica Sarah Rinland\n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nProgram Duration: 45 mins \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”40px”][vc_single_image image=”147742″ img_size=”full”][vc_column_text] \nWatch the conversation between Presenter1\, Presenter2 and Presenter 3 on the UnionDocs’ Membership hub. \n[/vc_column_text][vc_btn title=”Watch” style=”outline-custom” outline_custom_color=”#ffffff” outline_custom_hover_background=”#adadcc” outline_custom_hover_text=”#0000cd” shape=”round” align=”center” css_animation=”bounceIn”][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nBios \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”165608″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””] \n\nJessica Sarah Rinland is an Argentine-British artist filmmaker whose work explores and interrogates archives and institutions\, the tactile labour that occurs within them\, their replicas and representations\, the scientific world whose knowledge informs them\, and how that knowledge is constructed\, complicated\, and disseminated. She works primarily in film as well as in installation\, photography\, sculpture\, and artists books. \nShe is a recipient of numerous prizes including Special Mention at Locarno and San Sebastian Film Festival\, Best Film at DocumentaMadrid\, Primer Premio at Bienale de Imagen en Movimiento Buenos Aires\, and Massachusetts Institute of Technology’s Schnitzer prize for excellence in the arts. Rinland’s work has been exhibited internationally in solo exhibitions including Alma Pearl\, Tabakalera\, University of Tennessee Downtown Gallery\, and group shows at Museum of Contemporary Art Cleveland\, Taipei Biennial\, Somerset House\, and New Contemporaries. \nShe has had retrospectives of her films at Flaherty Film Seminar\, Anthology Film Archives\, Open City Documentary Festival\, Doc’s Kingdom. Residencies include DAAD\, Camargo Foundation\, Film Studies Center at Harvard University\, Somerset House Studios\, MacDowell\, and Ikusmira Berriak. Her films are held in the British Film Institute and MoMA. \n\n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”165861″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Julián d’Angiolillo (Argentina) holds a degree in Visual Arts from the “P. Pueyrredón” National School of Fine Arts (UNA) and studied at the School of Dramaturgy (EAD) in Buenos Aires. His work gives form to diverse records—including recordings\, photographs\, installations\, and documentary films—that capture habits within specific physical territories. Amidst the institutionalization of lived experiences into efficient\, categorized frameworks\, his work seeks to identify intervals\, exceptions\, anomalies\, and experiences on the verge of extinction. He has directed the feature films La gruta continua\, Cuerpo de letra\, and Hacerme feriante\, as well as the short films Condominio\, Suite Matanzas\, and Autosocorro. His site-specific works include the video installations Direção de passeios at the Buenos Aires Botanical Garden\, Informe del aire at Móvil\, La remPlaza for the Performance Biennial\, and Antrópolis at Tecnópolis\, as well as the recent collaborative work Geonnitus.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nFrom the Event \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][vc_media_grid style=”pagination” items_per_page=”1″ element_width=”12″ arrows_design=”vc_arrow-icon-arrow_01_left” arrows_position=”outside” arrows_color=”white” loop=”yes” item=”136647″ grid_id=”vc_gid:1790522145180-83b22c30-7b16-10″ include=”147747\,147746\,147745″][vc_empty_space height=”30px”][/vc_column][/vc_row]
URL:https://uniondocs.org/event/narcisa-hirsch-graffiti-film-political-gesture-2026-09-27/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2026/09/000325100001-scaled.jpg
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260915T193000
DTEND;TZID=America/New_York:20260915T193000
DTSTAMP:20261115T183325
CREATED:20260810T141404Z
LAST-MODIFIED:20260810T141159Z
UID:10003078-1789500600-1789500600@uniondocs.org
SUMMARY:100 Jars of Honey
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text css=””]Doors 7:00p\nProgram 7:30p\nTickets $12[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text]UnionDocs\n352 Onderdonk Ave\nRidgewood\, NY[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_video link=”https://vimeo.com/851422192″][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””]We’re delighted to have encountered the practice of Mike Williams\, who has traveled from Australia to move across an impressive live audio tour across the east coast of the U.S. \nWe’ve invited Signal Hill to host a multi-part evening across three artist practices that brings us into a room to listen and join together.   \nMike Williams (Australia) blends music\, comedy and storytelling in a series of short stories including one about inheriting a collection of 100 jars of honey (and why he can’t let them go). He’s joined by a mix of exciting documentary makers.  \nPublic radio veteran\, Sean Cole shares insights into making a spoof of a long defunct radio show.  \nIndependent radio journalist and filmmaker\, Bianca Giaever will present short stories from a new body of work titled\, Stories of Objects that Haunt Me.  \nThis whole night will be hosted by the incredible team at Signal Hill\, an audio magazine changing the landscape for the field. We’re lucky that they’ve promised a few surprises of their own to share throughout the night. \nDon’t miss this rare lineup\, for one night only! Come through! \nCome through![/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nProgram \n[/vc_column_text][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \n\n100 Jars of Honey by Mike Williams\n\n[/vc_column_text][vc_column_text css=””]A series of gonzo short stories blending narrative non-fiction\, comedy and music. Mike investigates his local barber’s love for Cher\, why there are no forks at his workplace\, and what to do with a supply of 100 jars of honey. [/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \n\nA Weird Way to Learn About the World by Sean Cole\n\n[/vc_column_text][vc_column_text css=””]While the rest of Podcastistan trends further toward true crime\, wellness\, and video\, Sean Cole has been making an audio-only spoof of a long defunct radio show about writers and poetry. It’s unwise. But if nothing else\, it’s led him to some fascinating stories he’d have never learned otherwise – some of which he’ll share with you! [/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \n\nStories of Objects that Haunt Me by Bianca Giaever\n\n[/vc_column_text][vc_column_text css=””]Bianca will be presenting a few short pieces from a new body of work called Stories of Objects that Haunt Me.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”40px”][vc_single_image image=”147742″ img_size=”full”][vc_column_text] \nWatch the conversation between Presenter1\, Presenter2 and Presenter 3 on the UnionDocs’ Membership hub. \n[/vc_column_text][vc_btn title=”Watch” style=”outline-custom” outline_custom_color=”#ffffff” outline_custom_hover_background=”#adadcc” outline_custom_hover_text=”#0000cd” shape=”round” align=”center” css_animation=”bounceIn”][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nBios \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”164493″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Mike Williams (Marrickville\, NSW) makes fast\, irreverent\, and unmistakably Australian audio documentaries. His work has been broadcast internationally and he’s performed stories live at venues ranging from a local sausage restaurant to the Sydney Opera House. Mike works as Head of Entertainment and Culture at LiSTNR\, supporting the teams behind some of Australia’s biggest podcasts.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”164490″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Bianca Giaever is an independent radio journalist and filmmaker. Her recent short film\, STALIN BOYS\, won a Special Jury Award and Audience Award at SXSW. Her other stories have appeared on This American Life\, Radiolab\, The New Yorker\, and The New York Times.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”164491″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Sean Cole has been working in public radio and podcasting for almost thirty years\, including more than a decade at This American Life where he was a producer\, reporter\, and occasional guest host. He’s also been a staffer at Radiolab\, a contract reporter for Marketplace\, and a contributor to lots of other shows including 99% Invisible and  NPR’s All Things Considered. Sean’s poems have appeared in various magazines (both physical and virtual). His collection After This Messages was published by Lunar Chandelier press in 2022.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”164482″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Signal Hill is an audio magazine\, edited by Liza Yeager\, Lio Wong\, Annie Rosenthal\, Jackson Roach\, and Omar Etman. We publish audio stories of all kinds\, created collaboratively by a wide range of contributors: longform reporting\, experimental essays\, fiction\, dispatches\, profiles\, and more. We were named one of the best podcasts of 2025 by The BBC\, The Atlantic\, and The New Yorker.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nFrom the Event \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][vc_media_grid style=”pagination” items_per_page=”1″ element_width=”12″ arrows_design=”vc_arrow-icon-arrow_01_left” arrows_position=”outside” arrows_color=”white” loop=”yes” item=”136647″ grid_id=”vc_gid:1785514173272-bf4e23f4-c149-8″ include=”147747\,147746\,147745″][vc_empty_space height=”30px”][/vc_column][/vc_row]
URL:https://uniondocs.org/event/100-jars-of-honey-2026-09-15/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/gif:https://uniondocs.org/wp-content/uploads/2026/07/gif-7.gif
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260908T193000
DTEND;TZID=America/New_York:20260908T193000
DTSTAMP:20261115T183325
CREATED:20260731T110543Z
LAST-MODIFIED:20260903T162913Z
UID:10003087-1788895800-1788895800@uniondocs.org
SUMMARY:Sonic Detection: Necessary Notes for Arts and Performance
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text css=””]Doors 7:00p\nProgram 7:30p\nTickets $12[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text]UnionDocs\n352 Onderdonk Ave\nRidgewood\, NY[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_empty_space height=”30px”][vc_single_image image=”164855″ img_size=”full” alignment=”center” css=””][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_video link=”https://vimeo.com/851422192″][/vc_column][/vc_row][vc_row][vc_column][vc_column_text css=””]We’re delighted to present a very special evening to launch the publication of Sonic Detection by Rebecca Collins and Johanna Linsley!\n\nSonic Detection\, published by punctum books\, propels you up and down the UK coast and offers overheard fragments from a faded seaside resort\, a container shipping port\, a former coal-mining town\, and the Scottish headquarters for North Sea oil. Part sonic noir\, part performance document and part critical investigation of listening at the margins\, Sonic Detection is for readers interested in prospecting the boundaries of performance\, sound\, and text. \nEmerging from a decade-long collaboration between artists Rebecca Collins and Johanna Linsley\, the book uses eavesdropping as an expanded creative methodology\, taking in illicit listening-in and the accidentally overheard. Here\, sonic detectives hold open a collective sonorous space. They are the embodiment of the phenomenophile\, lingering longer in listening. \nThe launch event will include a performance lecture by Johanna Linsley that animates parts of Sonic Detection\, sounds from Stolen Voices001 (a 2020 album that complements the book)\, and a conversation following led by researcher\, transmission artist\, and editor Fabiana Vieira Gibim with Linsley following the performance.  \nDon’t miss it\, come through![/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”40px”][vc_single_image image=”147742″ img_size=”full”][vc_column_text] \nWatch the conversation between Presenter1\, Presenter2 and Presenter 3 on the UnionDocs’ Membership hub. \n[/vc_column_text][vc_btn title=”Watch” style=”outline-custom” outline_custom_color=”#ffffff” outline_custom_hover_background=”#adadcc” outline_custom_hover_text=”#0000cd” shape=”round” align=”center” css_animation=”bounceIn”][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nBios \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”164859″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Johanna Linsley is an artist and researcher who works across performance\, text\, and sound. Her work is collaborative and often iterative\, resulting in multiple outcomes or versions. She is interested in contemporary performance;  sound\, listening\, and the voice; queer domesticity; and modes of assembly and collective imagination. She has published research in Contemporary Theatre Review\, Performance Research\, and Cultural Geographies and she is co-editor of the book Artists in the Archive (2018). Her work in performance and sound\, both solo and with the London-based performance collective I’m With You\, has been widely presented internationally. She is based at the University of Dundee\, on the east coast of Scotland.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”165406″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Fabiana Vieira Gibim is a researcher\, transmission artist\, and editor whose work centers on transaesthetics\, radio art\, and fugitive knowledge transmission. She was born on the border of Brazil and Paraguay\, into the Guarani-Kaiowá nation\, and currently lives in New York while working on her PhD. She is the co-founder of Sobinfluencia Press in Brazil and of Laboratório Noturno\, dedicated to nocturnal methods of investigation. She is also a member of the editorial committee of Resonance: The Journal of Sound and Culture. As a Curatorial Fellow at Yale’s Beinecke Rare Book and Manuscript Library\, she curated “Art\, Protest and the Archives\,” and as Wave Farm’s Radio Art Writing Fellow she researched counter-archiving in radio art\, developing what she calls nocturnal archiving\, most recently through the Deja Vudu Sound Archive on WGXC 90.7 FM in Acra\, New York (https://wavefarm.org/radio/wgxc/schedule/sc0a6v). Her radio art archives have been broadcast all over the world on Radiophrenia (Scotland)\, PosVerso – Bienal Internacional de Poesía Experimental de Argentina\, Radia.fm\, and others.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”164861″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Rebecca Collins (d. 2024) was an award-winning artist researcher and lecturer working at the intersection between contemporary performance and sound. Her main research interests were in listening\, performance\, sound studies\, and creative/critical writing. Rebecca’s practice focused on the dynamics of the sonic operating within specific environments and technologies to explore methodologies of writing and making contemporary performance. She shared her scholarship and practice through multiple forms\, including live performance\, limited-edition vinyl\, radio broadcasts\, exhibitions\, workshops\, text scores\, policy documents\, and academic/experimental publications. Rebecca was a Lecturer in Contemporary Art Theory at Edinburgh College of Art\, University of Edinburgh. Shortly before her untimely passing\, Rebecca had been named a Ramón and Cajal Research Fellow at the Spanish National Research Council (CSIC) in Madrid (for 2024-29).[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nFrom the Event \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][vc_media_grid style=”pagination” items_per_page=”1″ element_width=”12″ arrows_design=”vc_arrow-icon-arrow_01_left” arrows_position=”outside” arrows_color=”white” loop=”yes” item=”136647″ grid_id=”vc_gid:1788452703820-f0fcbe76-aae4-7″ include=”147747\,147746\,147745″][vc_empty_space height=”30px”][/vc_column][/vc_row]
URL:https://uniondocs.org/event/sonic-detection-necessary-notes-for-arts-and-performance-2026-09-08/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/png:https://uniondocs.org/wp-content/uploads/2026/08/Screenshot-2026-08-13-at-10.51.14-PM.png
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260906T193000
DTEND;TZID=America/New_York:20260906T230000
DTSTAMP:20261115T183325
CREATED:20260731T110435Z
LAST-MODIFIED:20260904T195824Z
UID:10003075-1788723000-1788735600@uniondocs.org
SUMMARY:Central Park — Wiseman's New York
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text css=””]Doors 7:00p\nProgram 7:30p[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text css=””]*Please Note* \nThis event has been moved locations and now is hosted on-site at our space: \nUnionDocs\,\n3-52 Onderdonk Ave\,\nRidgewood\, NY 11385[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_video link=”https://vimeo.com/851422192″][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nWe’re delighted to present a special outdoor screening of Frederick Wiseman’s Central Park (1989) ).  This event is part of our 10 day program\,  Wiseman’s New York\, where we invite participants into an immersive survey and set of seminars on Wiseman’s New York films alongside visits to the institutions\, neighborhoods\, and civic spaces they document. \nOver the course of his six-decade career\, the late\, great filmmaker Frederick Wiseman returned to New York more than any single location. He made nine films in the city. In early works like Hospital (1969) and Welfare (1975)\, he addressed the plight of some of the city’s most vulnerable residents. Later films show a city in the midst of transition\, including creeping gentrification in In Jackson Heights (2015) and a public library system redefining its purpose in an era of digitization in Ex Libris (2017). \nCentral Park (1989) is a film about the famous New York City landmark and the variety of ways in which people make use of it: running\, boating\, walking\, skating\, music\, theatre\, sports\, picnics\, parades and concerts. The film also illustrates the complex problems the New York City Parks Department deals with in order to maintain and preserve the park and keep it open and accessible to the public. \nCome through![/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nProgram \n[/vc_column_text][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \n\nCentral Park\n\n[/vc_column_text][vc_column_text css=””]1989\, 176 MINUTES\, COLOR[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”40px”][vc_single_image image=”147742″ img_size=”full”][vc_column_text] \nWatch the conversation between Presenter1\, Presenter2 and Presenter 3 on the UnionDocs’ Membership hub. \n[/vc_column_text][vc_btn title=”Watch” style=”outline-custom” outline_custom_color=”#ffffff” outline_custom_hover_background=”#adadcc” outline_custom_hover_text=”#0000cd” shape=”round” align=”center” css_animation=”bounceIn”][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nBios \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”164166″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Genevieve Yue is an associate professor of culture and media at The New School. She is an independent programmer and the author of Girl Head: Feminism and Film Materiality (2020) and Trains\, which will be available in fall 2026.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nFrom the Event \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][vc_media_grid style=”pagination” items_per_page=”1″ element_width=”12″ arrows_design=”vc_arrow-icon-arrow_01_left” arrows_position=”outside” arrows_color=”white” loop=”yes” item=”136647″ grid_id=”vc_gid:1788312288865-e5b7fc0d-9856-6″ include=”147747\,147746\,147745″][vc_empty_space height=”30px”][/vc_column][/vc_row]
URL:https://uniondocs.org/event/central-park-wisemans-new-york-2026-09-06/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/gif:https://uniondocs.org/wp-content/uploads/2026/07/giphy-9.gif
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260902
DTEND;VALUE=DATE:20260915
DTSTAMP:20261115T183325
CREATED:20260720T202612Z
LAST-MODIFIED:20260806T173422Z
UID:10003077-1788328800-1789365599@uniondocs.org
SUMMARY:Wiseman's New York
DESCRIPTION:
URL:https://uniondocs.org/event/wisemans-new-york/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events,Workshops & Labs
ATTACH;FMTTYPE=image/gif:https://uniondocs.org/wp-content/uploads/2026/07/GIF-by-UnionDsocs.gif
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260821T190000
DTEND;TZID=America/New_York:20260821T190000
DTSTAMP:20261115T183325
CREATED:20260720T202350Z
LAST-MODIFIED:20260813T164706Z
UID:10003086-1787338800-1787338800@uniondocs.org
SUMMARY:To Use a Mountain
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text css=””]Program 7:00p[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_btn title=”Get Tickets!” style=”outline-custom” outline_custom_color=”#ffffff” outline_custom_hover_background=”#adadcc” outline_custom_hover_text=”#0000cd” shape=”round” css_animation=”bounceIn” css=”” link=”url:https%3A%2F%2Ffirehouse.dctvny.org%2Fwebsales%2Fpages%2Fticketsearchcriteria.aspx%3Fevtinfo%3D564893~2998286f-8e4b-4c31-9017-dcced8ffebb3%26|title:Get%20Tickets!|target:_blank”][vc_column_text]Offsite\nDCTV\n87 Lafayette Street\,\nNew York\, NY 10013[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_video link=”https://vimeo.com/1077107900″ css=””][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nWe’re delighted to co-present Casey Carter’s haunting and visually stunning documentary To Use A Mountain\, screening at DCTV this August! \nThe film asks how we handle our most hazardous byproducts\, and takes this question to the heart of America’s deserts and mountains\, tracing the fallout of decisions made in 1982\, when six potential sites were identified by the U.S. Department of Energy for long-term nuclear waste storage. To Use A Mountain investigates these fraught landscapes of disposal and the people who live among them\, mixing physics\, geology\, and politics in a gripping radioactive travelogue. \nWe’re especially excited to note that producer Colleen Cassingham and director Casey Carter first met in the UnionDocs Collaborative Studio along with collaborator Magdalena Orellana who was also a part of the project from the start and added her signature artistry via the animation in the film. We’re delighted to also have served as the film’s fiscal sponsor and see it along its trajectory now finally out in the world meeting an audience. The film first premiered this past April at Visions Du Reel\, where it won a Special Jury Award. \nThis event is offsite at DCTV — see you there![/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nProgram \n[/vc_column_text][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nTo Use a Mountain by Casey Carter\n[/vc_column_text][vc_column_text css=””]99 min\, 2025\,  United States[/vc_column_text][vc_column_text css=””]What do we do with our most hazardous byproducts? Nuclear waste will be with us\, still lethally radioactive\, for millennia\, and we’ve never found a solution for where to keep it. In 1982\, six candidate sites were selected by the U.S. Department of Energy and reviewed for use in long term storage\, to public consternation. To Use A Mountain investigates these fraught landscapes of disposal\, and the people and places that must exist alongside them\, mixing physics\, geology\, and politics in a gripping radioactive travelogue.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nProgram Duration: 99 mins \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”40px”][vc_single_image image=”147742″ img_size=”full”][vc_column_text] \nWatch the conversation between Presenter1\, Presenter2 and Presenter 3 on the UnionDocs’ Membership hub. \n[/vc_column_text][vc_btn title=”Watch” style=”outline-custom” outline_custom_color=”#ffffff” outline_custom_hover_background=”#adadcc” outline_custom_hover_text=”#0000cd” shape=”round” align=”center” css_animation=”bounceIn”][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nBios \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”160615″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Casey Carter is a filmmaker and interdisciplinary designer whose work engages nonfiction storytelling in film\, photography\, data visualization\, and cartography. Working through a mixture of portraiture\, landscape\, and evidentiary documents and media\, his work centers on themes of governmentality\, geography\, and environmentalism. He was a 2021 NYSCA/NYFA Film/Video Artist Fellow\, a 2019 Points North Fellow\, and a 2017-2018 UnionDocs Collaborative Studio Fellow. His work as project director for Maya Lin’s What Is Missing? Foundation\, won the 2023 Webby Awards for Best Activism Website as well as Best Navigation/Structure for desktop and mobile websites. His interdisciplinary background (BS in Physics\, BS in Photography\, M.Arch\, M.S. in Design Health) informs his work across media\, art\, and design.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nFrom the Event \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][vc_media_grid style=”pagination” items_per_page=”1″ element_width=”12″ arrows_design=”vc_arrow-icon-arrow_01_left” arrows_position=”outside” arrows_color=”white” loop=”yes” item=”136647″ grid_id=”vc_gid:1786638875023-b25f967a-acf8-5″ include=”147747\,147746\,147745″][vc_empty_space height=”30px”][/vc_column][/vc_row]
URL:https://uniondocs.org/event/to-use-a-mountain-2026-08-21/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/gif:https://uniondocs.org/wp-content/uploads/2026/07/giphy-11.gif
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260801T203000
DTEND;TZID=America/New_York:20260801T203000
DTSTAMP:20261115T183325
CREATED:20260713T111438Z
LAST-MODIFIED:20260729T022841Z
UID:10003069-1785616200-1785616200@uniondocs.org
SUMMARY:애국소녀 K- Family Affairs
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text css=””]Doors 8:00p\nProgram 8:30p[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text css=””]OFFSITE\nHandball Courts across the street from UnionDocs\n352 Onderdonk Ave\nRidgewood\, NY[/vc_column_text][vc_btn title=”Free RSVP!” style=”outline-custom” outline_custom_color=”#FFFFFF” outline_custom_hover_background=”#ADADCC” outline_custom_hover_text=”#0000CD” shape=”round” css=”” link=”url:https%3A%2F%2Fluma.com%2Fz8in4ywq|title:Free%20RSVP!”][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_video link=”https://vimeo.com/851422192″][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””]We’re delighted to come together with our friends at Nooks and Crannies to co-present 애국소녀 K-Family Affairs by 남아름 Arum Nam! \nThis is a FREE outdoor screening happening on the Handball Courts across the streets from UnionDocs! \nIn an ever polarized world\, sitting down and having an actual talk seem to grow impossible amongst people holding different beliefs and ideas. Yet Arum Nam documented her vibrant family living room\, full of conversions: at times mundane\, humourous\, or at times grueling\, emotionally demanding. Nam doesn’t just present a family portrait with parents of their own growing political beliefs\, but also self-documented her own journey of understanding of the democracy\, women’s rights and her motifs in the world as it is. \nCome through![/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nProgram \n[/vc_column_text][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \n애국소녀 K-Family Affairs by 남아름 Arum Nam\n[/vc_column_text][vc_column_text css=””]South Korea\, 2023\, 90min[/vc_column_text][vc_column_text css=””]Arum’s parents are part of the proud 386 generation\, which played a significant role in achieving democratization in South Korea. Eager to pass on a better world to Arum\, her father became a public servant\, and her mother\, a feminist activist. However\, at the age of 18\, she came face to face with the Sewol ferry disaster\, which left numerous victims due to the malfunctioning national system. To her dismay\, even Arum’s father was involved in managing the aftermath of the accident\, prompting her to question the democracy crafted by the previous generation. Navigating through Korean political history via her family’s journey\, Arum reflects on her generation’s role\, spanning from the 2014 Sewol ferry disaster to the impeachment\, #MeToo movement\, and the 2022 presidential election.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nProgram Duration: 90 mins \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”40px”][vc_single_image image=”147742″ img_size=”full”][vc_column_text] \nWatch the conversation between Presenter1\, Presenter2 and Presenter 3 on the UnionDocs’ Membership hub. \n[/vc_column_text][vc_btn title=”Watch” style=”outline-custom” outline_custom_color=”#ffffff” outline_custom_hover_background=”#adadcc” outline_custom_hover_text=”#0000cd” shape=”round” align=”center” css_animation=”bounceIn”][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nBios \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”163988″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]남아름 Arum Nam is an documentary filmmaker from South Korea whose works explore women’s rights and the intersections of family and politics. Her debut feature\, K-Family Affairs (2023)\, won awards at DMZ Docs and the Taiwan International Documentary Festival (TIDF)\, and was selected for IDFA’s “Best of Fests.” She co-directed Teleporting(2022)\, an AR documentary created with Japanese collaborators that screened at Hot Docs\, and previously directed Pink-Femi (2018) during Korea’s #MeToo movement.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nFrom the Event \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][vc_media_grid style=”pagination” items_per_page=”1″ element_width=”12″ arrows_design=”vc_arrow-icon-arrow_01_left” arrows_position=”outside” arrows_color=”white” loop=”yes” item=”136647″ grid_id=”vc_gid:1785292085377-bd410730-268e-6″ include=”147747\,147746\,147745″][vc_empty_space height=”30px”][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_video link=”https://vimeo.com/851422192″][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”40px”][vc_column_text] \nWatch the conversation between Presenter1\, Presenter2 and Presenter 3 on the UnionDocs’ Membership hub. \n[/vc_column_text][vc_single_image image=”147742″ img_size=”full”][vc_btn title=”Watch” style=”outline-custom” outline_custom_color=”#ffffff” outline_custom_hover_background=”#adadcc” outline_custom_hover_text=”#0000cd” shape=”round” align=”center” css_animation=”bounceIn”][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nFrom the Event \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][vc_media_grid style=”pagination” items_per_page=”1″ element_width=”12″ arrows_design=”vc_arrow-icon-arrow_01_left” arrows_position=”outside” arrows_color=”white” loop=”yes” item=”136647″ grid_id=”vc_gid:1785292085378-c2c54e7b-7410-4″ include=”147747\,147746\,147745″][vc_empty_space height=”30px”][/vc_column][/vc_row]
URL:https://uniondocs.org/event/%ec%95%a0%ea%b5%ad%ec%86%8c%eb%85%80-k-family-affairs-2026-08-01/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/gif:https://uniondocs.org/wp-content/uploads/2026/07/ncgif.gif
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260724T193000
DTEND;TZID=America/New_York:20260724T193000
DTSTAMP:20261115T183325
CREATED:20260713T103853Z
LAST-MODIFIED:20260713T111738Z
UID:10003068-1784921400-1784921400@uniondocs.org
SUMMARY:The Lost Image Archives
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text css=””]Doors 7:00p\nProgram 7:30p\nTickets $12[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text]UnionDocs\n352 Onderdonk Ave\nRidgewood\, NY[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_video link=”https://vimeo.com/851422192″][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nWe’re delighted to kick off our workshop The Magical Image: Special Effects as Documentary Method with a special screening and conversation featuring workshop lead\, the brilliant filmmaker Carl Elsaesser! \nWorking between experimental film\, essay\, and archival practice\, Carl Elsaesser creates films that blur the boundaries between memory\, history\, and fiction. Blending found materials\, personal archives\, and carefully constructed cinematic gestures\, his work asks how images continue to shape the stories we tell about ourselves and others long after the moments they depict have passed. \nThe evening brings together two recent films—Home When You Return (2022) and How to Run a Trotline (2024)—alongside The Lost Image Archives #4: Julie (2026)\, presented in three parts throughout the program. Moving between domestic spaces\, vanished histories\, amateur cinema\, and fleeting encounters\, these works invite us into a cinema where metaphor\, ritual\, and transformation become ways of approaching documentary. Rather than treating images as fixed records of reality\, Elsaesser’s films open them up as living\, unstable forms through which memory and meaning continue to shift. \nFollowing the screening\, Carl Elsaesser will be joined in conversation by filmmaker Alena Lodkina. Come through! \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nProgram \n[/vc_column_text][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \n\nHow to Run a Trotline\n\n[/vc_column_text][vc_column_text css=””]USA\, 2024\, 18mins[/vc_column_text][vc_column_text css=””] “Stretching and blurring the boundaries of video essay\, experimental film and home movie\, traces of a 1950s homemade melodrama by amateur filmmaker Joan Thurber Baldwin intermingle with a mournful homage to the author’s grandmother and her vacated home. A powerful mélange of cinematic and domestic spaces\, past and present.” – Kevin B Lee[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \n\nHome When You Return\n\n[/vc_column_text][vc_column_text css=””]USA\, 2022\, 30mins[/vc_column_text][vc_column_text css=””]“Despite the didactic promise of its title\, Carl Elsaesser’s new film will not teach you how to complete this obscure action. The phrase itself\, at once ridiculous and noble\, is pleasure enough\, and its tone fits perfectly on a work that walks a thin\, dandyish path down the border of farce and elegy. Another pleasure: it isn’t about anything\, though it’s of quite a lot. Of fathers (who might teach one how to run a trotline\, or sit on a porch\, or disappear); of other films (particularly a pair by adopted fathers Michael Snow and William E. Jones); of at least two kinds of cruising; of the winter in Maine and the streets in New York and the many kinds of light to be found in and around both (ranging from snowy diffusion to snare-hit clarity). But one needn’t know these films or Maine or New York\, not any more than one need know what a trotline is\, to be hooked by the ongoing oddness of Elsaesser’s rhythms\, which move gently\, languidly toward new raptures of illumination.” – Phil Coldiron[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \n\nThe Lost Image Archives #4 Julie\n\n[/vc_column_text][vc_column_text css=””]USA\, 2026\, 18min[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”40px”][vc_single_image image=”147742″ img_size=”full”][vc_column_text] \nWatch the conversation between Presenter1\, Presenter2 and Presenter 3 on the UnionDocs’ Membership hub. \n[/vc_column_text][vc_btn title=”Watch” style=”outline-custom” outline_custom_color=”#ffffff” outline_custom_hover_background=”#adadcc” outline_custom_hover_text=”#0000cd” shape=”round” align=”center” css_animation=”bounceIn”][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nBios \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”163435″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Carl Elsaesser is an experimental filmmaker whose work blends genres and materials to critically investigate the overarching presence of history without losing sight of individual experiences of human connection. He is interested in framing a film practice through ritualistic and slow processes—thinking with a project as something akin to skin or clothing\, worn throughout his day as he teaches class\, walks through the city or countryside late at night\, or calls a friend across the world.His films have screened widely at festivals and institutions including the Berlinale\, New York Film Festival\, Cinema du Réel\, European Media Art Festival\, the National Gallery of Art\, and the Criterion Channel.He has been honored with grants and residencies including a 2026 Creative Capital Award\, a Guggenheim Fellowship\, the Minnesota State Arts Board grant\, a MacDowell Fellowship\, and residencies at the Ellis-Beauregard Foundation\, Hewnoaks\, and Squeaky Wheel Media Center. His work has been featured in publications such as LA Review of Books\, Millennium Film Journal\, and FilmExplorer.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”163918″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Alena Lodkina is a Russian-born Australian filmmaker. She has made fiction and documentary short films that have played at festivals around the world. Her debut feature film STRANGE COLOURS was produced through the Biennale College Cinema and premiered at Venice Film Festival 2017\, toured the festival circuit and had a cinematic release across Australia. PETROL\, her second feature as writer/director\, premiered at Locarno Film Festival and in the inaugural competition at Melbourne International Film Festival in 2022. The New Yorker named it a stand-out at New Directors/ New Films Festival 2023 and it was released in cinemas in Australia. She was a MacDowell Fellow in fall/winter 2023-2024. Her non-fiction and fiction writing has appeared in Senses of Cinema\, 4:3 Journal\, Meanjin\, Fireflies\, HEAT Journal\, The Stinging Fly and One-Way Street. TWICE OVER is her third feature film.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nFrom the Event \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][vc_media_grid style=”pagination” items_per_page=”1″ element_width=”12″ arrows_design=”vc_arrow-icon-arrow_01_left” arrows_position=”outside” arrows_color=”white” loop=”yes” item=”136647″ grid_id=”vc_gid:1783938910993-a26d3ba3-3d93-4″ include=”147747\,147746\,147745″][vc_empty_space height=”30px”][/vc_column][/vc_row]
URL:https://uniondocs.org/event/the-lost-image-archives-2026-07-24/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/gif:https://uniondocs.org/wp-content/uploads/2026/07/carl-elsaesser-event.gif
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260716T193000
DTEND;TZID=America/New_York:20260716T193000
DTSTAMP:20261115T183325
CREATED:20260610T135016Z
LAST-MODIFIED:20260615T145442Z
UID:10003064-1784230200-1784230200@uniondocs.org
SUMMARY:A Brief History of Chasing Storms
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text css=””]Doors 7:00p\nProgram 7:30p\nTickets $12[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text]UnionDocs\n352 Onderdonk Ave\nRidgewood\, NY[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_video link=”https://vimeo.com/851422192″][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nWe’re delighted to present Curtis Miller’s A BRIEF HISTORY OF CHASING STORMS! The film presents a history of the tornado as both a destructive weather event and an American icon. Local monuments to past tornadoes intertwine with mythologies of settlement and displacement. An amateur storm chaser questions his own agency and fate. The CEO of a Wizard of Oz-themed storm shelter company describes a growing market in a world of increasing weather uncertainty. Unfolding episodically\, questions of memory\, inequality\, colonization\, climate change\, and disaster capitalism arise as the film examines legacies of weather within the region colloquially known as “tornado alley.” Curtis will be present for a conversation following the screening with writer\, editor and arts-worker\, Julia Gunnison. \nCome through! \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nProgram \n[/vc_column_text][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \n\nA Brief History of Chasing Storms\n\n[/vc_column_text][vc_column_text css=””]16mm and 4K video / 70 minutes[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”40px”][vc_single_image image=”147742″ img_size=”full”][vc_column_text] \nWatch the conversation between Presenter1\, Presenter2 and Presenter 3 on the UnionDocs’ Membership hub. \n[/vc_column_text][vc_btn title=”Watch” style=”outline-custom” outline_custom_color=”#ffffff” outline_custom_hover_background=”#adadcc” outline_custom_hover_text=”#0000cd” shape=”round” align=”center” css_animation=”bounceIn”][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nBios \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”163180″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Curtis Miller is an artist and educator working across film\, video\, photography\, and publication. His work often takes the American Midwest as both site and subject. His films have screened internationally at the Alchemy Film and Moving Image Festival\, Antimatter\, Chicago International Film Festival\, DMZ Documentary Festival\, EXiS\, IDFA\, Mimesis Documentary Festival\, and Visions du Réel\, as well as the Hyde Park Arts Center\, Indiana University Cinema\, and the Renaissance Society\, among others. Other venues for performance\, printed matter\, and installations include the Chicago Artist Book Fair\, MdW Art Fair\, College Arts Association\, Gallery 400\, Tiger Strikes Asteroid and various artist-run projects and spaces throughout the Midwest. He has taught at the University of Illinois at Chicago\, the City Colleges of Chicago\, and most recently as lecturer for the Department of Art\, Theory\, and Practice at Northwestern University. In 2025\, he was named one of Filmmaker Magazine’s “25 New Faces of Independent Film.”[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”152993″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Julia Gunnison is a writer\, editor\, and arts worker based in Brooklyn\, New York. Her essays\, reviews\, and interviews have appeared in Film Comment\, Los Angeles Review of Books\, Reverse Shot\, Screen Slate\, and Bright Wall/Dark Room. Her interests include nonfiction film forms and urban space on screen. \nShe is a 2024–26 UNDO Fellow with UnionDocs Center for Documentary Art. Through the fellowship\, she is editing a book of essays in collaboration with filmmaker Courtney Stephens\, to be published later this year. Julia is also an alumna of the 2024 Film at Lincoln Center Critics Academy and the 2023–24 Reverse Shot Emerging Critics Workshop. \nShe is the co-founder and co-editor of Syllabus\, a web publication for nontraditional syllabi that explores how a syllabus can become a creative tool. \nShe has served as a reviewer and juror for the Sundance Institute\, the Shorenstein Center at the Harvard Kennedy School\, the International Documentary Association\, the Miller Foundation\, and the Catapult Film Fund\, among others\, and has moderated Q+A’s at the IFC Center and UnionDocs.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nFrom the Event \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][vc_media_grid style=”pagination” items_per_page=”1″ element_width=”12″ arrows_design=”vc_arrow-icon-arrow_01_left” arrows_position=”outside” arrows_color=”white” loop=”yes” item=”136647″ grid_id=”vc_gid:1781535225010-72e1ec06-031f-9″ include=”147747\,147746\,147745″][vc_empty_space height=”30px”][/vc_column][/vc_row]
URL:https://uniondocs.org/event/a-brief-history-of-chasing-storms-2026-07-16/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/gif:https://uniondocs.org/wp-content/uploads/2026/05/gif-1.gif
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260625T193000
DTEND;TZID=America/New_York:20260625T193000
DTSTAMP:20261115T183325
CREATED:20260608T144231Z
LAST-MODIFIED:20260608T175201Z
UID:10003066-1782415800-1782415800@uniondocs.org
SUMMARY:Eastern Anthems
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text css=””]Doors 7:00p\nProgram 7:30p\nTickets $12[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text]UnionDocs\n352 Onderdonk Ave\nRidgewood\, NY[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_video link=”https://vimeo.com/851422192″][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””]We’re delighted to kick off our workshop Embracing Adrift: The Documentary Travelogue with a special screening and conversation with workshop lead\, the brilliant filmmaker & media artist Jean-Jacques Martinod! \nWorking across ethnofiction\, anthropology\, and surregionalism with haptic artisanal film techniques\, Jean-Jacques Martinod’s work traces the intertwined relations between the human and the non-human: living mythologies\, disappearing memories\, biomes and techne as they manifest in relation to living worlds. Eastern Anthems is a relay between two artists. This experimental film shows the return of a species of cicada that only emerges every 17 years in an America that also may be starting a new cycle. In Datura’s Aubade\, a farmer discovers a fallen meteorite in the high deserts of New Mexico. The Alien Earth and the Earth Alien commingle under the spell of a deadly nightshade. \nJean-Jacques Martinod will be joined in conversation by filmmaker and artist Rebecca Shapass following the screening. Come through! \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nProgram \n[/vc_column_text][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nEastern Anthems by Jean-Jacques Martinod & Matthew Wolkow\n[/vc_column_text][vc_column_text css=””]2024\, 78 min\, Canada\, USA[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nDatura’s Aubade by Jean-Jacques Martinod & Bretta C. Walker\n[/vc_column_text][vc_column_text css=””]2021\, 17 min\, USA\, Mexico[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nProgram Duration: 95 mins \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”40px”][vc_single_image image=”147742″ img_size=”full”][vc_column_text] \nWatch the conversation between Presenter1\, Presenter2 and Presenter 3 on the UnionDocs’ Membership hub. \n[/vc_column_text][vc_btn title=”Watch” style=”outline-custom” outline_custom_color=”#ffffff” outline_custom_hover_background=”#adadcc” outline_custom_hover_text=”#0000cd” shape=”round” align=”center” css_animation=”bounceIn”][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nBios \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”163023″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Jean-Jacques Martinod is a filmmaker\, media artist\, film curator\, abyssological researcher\, and clandestine anarchivist. His work is engaged within extended modes of noetic and intersubjective experience\, manifest in an ongoing practice of experimental documentary cinema: the human/non-human\, folk mythology\, anemic memory\, sur-regional biomes\, hydra techno-logics\, and the poetic mediation of living worlds and their extended cohabitants. Martinod’s work has been showcased in leading festivals\, museums\, and cinematheques worldwide\, including the IFFR International Film Festival Rotterdam\, FIDMarseille\, Sheffield Doc/Fest\, Frontera Sur\, First Look at MoMI\, CIFF Camden\, Novos Cinemas Pontevedra\, PHI Centre Montreal\, Cinemateca do MAM Rio de Janeiro\, Cinemateca Nacional del Ecuador\, Cinemateca de Bogotá\, and the European Media Arts Festival\, among many others.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”163416″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Rebecca Shapass is a filmmaker and artist investigating documentary form and archival practice through the creation of film & video\, photo\, installation\, and text. Shapass’ work combines techniques of optical & aural abstraction with documentary sensibilities to propel audiences into a space of questioning not only what they see & hear – but how and why. Shapass is compelled by the uncapturable – what escapes both image & language — and how these absences haunt memory & archive.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nFrom the Event \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][vc_media_grid style=”pagination” items_per_page=”1″ element_width=”12″ arrows_design=”vc_arrow-icon-arrow_01_left” arrows_position=”outside” arrows_color=”white” loop=”yes” item=”136647″ grid_id=”vc_gid:1780941006862-e269f509-a6bd-3″ include=”147747\,147746\,147745″][vc_empty_space height=”30px”][/vc_column][/vc_row]
URL:https://uniondocs.org/event/eastern-anthems-2026-06-25/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/gif:https://uniondocs.org/wp-content/uploads/2026/06/gif-7.gif
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260613T200000
DTEND;TZID=America/New_York:20260613T230000
DTSTAMP:20261115T183325
CREATED:20260601T141517Z
LAST-MODIFIED:20260611T131717Z
UID:10003065-1781380800-1781391600@uniondocs.org
SUMMARY:Collaborative Studio:  Preview + Party!
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_btn title=”RSVP” style=”outline-custom” outline_custom_color=”#ffffff” outline_custom_hover_background=”#0000cd” outline_custom_hover_text=”” shape=”round” align=”center” css=”” link=”url:https%3A%2F%2Fluma.com%2Fv40ubym9″][/vc_column][vc_column width=”1/2″][vc_column_text css=””]Handball Court\nAcross the street from UNDO\n352 Onderdonk Ave\nRidgewood\, NY[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_single_image image=”163293″ img_size=”full” alignment=”center” css=””][vc_empty_space height=”40px”][vc_separator color=”custom” accent_color=”#ffffff”][vc_empty_space height=”40px”][vc_column_text css=””]Save the date! We’re back with our annual Preview in the Park\, debuting a new collection of 7 short documentaries made by the talented artists in the UnionDocs Collaborative Studio (CoLAB). \nThis year’s films emerge from a shared research focus on sanitation\, waste streams\, discard culture\, labor\, and the hidden infrastructures that move material through and out of New York City every day. \nRooted on the border of Ridgewood and Bushwick\, we have become increasingly aware of our proximity to sanitation garages\, scrap yards\, transfer stations\, and industrial routes that are often overlooked but quietly shape the rhythms of the city at large\, and offer this collection of films to bring these spaces and systems into focus. \nFrom the workforces official and unofficial\, like the 10\,000+ New Yorkers who redeem recyclables for 5 cents on the can every day\, to New York’s strongest— the city’s sanitation force\, or the environmental saviors like the mussels in Newtown Creek that have filtered a century’s worth of pollution\, the films look closely at the various forms of labor that sustain the city every day. \nThey also trace the sites of disposal and the methods of claiming and relinquishing ownership that take place across typical and not-so-typical sites of discard: a notorious plaza under the train that has become a hotspot for illegal dumping\, weekly auction yards for cars picked up on the street\, and the thousands of estate sales that leave formerly beloved and now unwanted objects for the taking — or on a direct pathway to the infamous garbage truck hopper. \nTogether\, these films explore sanitation not only as disposal\, but as an ongoing civic system and choreography that reflects our values: what’s kept? what’s discarded? who decides? who benefits\, or suffers? and who labors through these processes? And of course\, what futures could shift if there was more attention paid to these questions? \nCome through to watch these incredible new films under the stars and in community at Starr Playground on Onderdonk Ave. \nDoors open at 7:30 PM and screenings begin at sunset\, around 8:30 PM. \nAfter the films\, we’ll invite everyone back to UNDO to celebrate with drinks\, a dj set from radiodevil (aka Jess Jara-Williams) and a festive chance to gather and toast the work of these amazing teams. \nStay tuned for the full lineup![/vc_column_text][vc_empty_space height=”40px”][vc_separator color=”custom” accent_color=”#ffffff”][vc_column_text css=””] \nProgram \n[/vc_column_text][vc_separator color=”custom” accent_color=”#ffffff”][vc_empty_space height=”40px”][vc_custom_heading text=”All Bottles Go to Heaven” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes” css=””][vc_custom_heading text=”Co-Directors – Billie McKelvie\, Katyayani Kumar\, Nichole Whitney\nCinematography – Billie McKelvie\, Katyayani Kumar\nEditor – Nichole Whitney\nSound – Nichole Whitney\nCo-Producers – Billie McKelvie\, Katyayani Kumar\, Nichole Whitney” font_container=”tag:p|text_align:left” use_theme_fonts=”yes” css=””][vc_column_text css=””]Over 10\,000 New Yorkers are full time canners. Look beyond the passing glance on the street into the dynamic world of redemption centers facing mass closures in New York State. [/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Object Permanence” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes” css=””][vc_custom_heading text=”Co-Directors – Nichole Whitney\, Katyayani Kumar\, Jules Bradley\nCo-Producers – Nichole Whitney\, Jules Bradley\nEditor – Katyayani Kumar” font_container=”tag:p|text_align:left” use_theme_fonts=”yes” css=””][vc_column_text css=””]Object Permanence is an experimental short film that follows the lives of inanimate objects as they experience an estate sale. As their worth is reevaluated\, debated\, or discarded\, the film becomes a meditation on value itself.[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”In Every Crack and Crevice” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes” css=””][vc_custom_heading text=”Co-Directors – ann haeyoung and David Scheckel\nCo-Editors – ann haeyoung and David Scheckel” font_container=”tag:p|text_align:left” use_theme_fonts=”yes” css=””][vc_column_text css=””]In In Every Crack and Crevice\, the mussels of Newtown Creek bear witness to the waterway’s past\, present\, and future as they filter through over a century’s worth of pollution.[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”grbg trckz” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes” css=””][vc_custom_heading text=”Co-Directors — Adam Mbowe\, Tomás Orrego\nProducer – Adam Mbowe\nAnimator and Assistant Editor – Tomás Orrego\nEditor & Animator – Jules Bradley\nSound Recordist – Teddy Kentor\nAdditional support from -Sté Sassen\, Nicole Whitney\, David Scheckel\, Ann Haeyoung” font_container=”tag:p|text_align:left” use_theme_fonts=”yes” css=””][vc_column_text css=””]Children narrate and react to the wonders of the New York Sanitation Department’s\ngarbage trucks through a series of abstract animations.[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Trash Triangle” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes” css=””][vc_custom_heading text=”Co-Directors – David Scheckel and Nichole Whitney\nCo-Editors – Adam Mbowe and David Scheckel\nAdditional Support from – Jules Bradley\, Katyayani Kumar\, Billie McKelvie” font_container=”tag:p|text_align:left” use_theme_fonts=”yes” css=””][vc_column_text css=””]A plaza under the train has become a hot spot for illegal dumping. Trash Triangle presents a stage for community activation of this unused public space.[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”New York’s Strongest” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes” css=””][vc_custom_heading text=”Director – Teddy Kentor\nDirector of Photography – Billie McKelvie\nCo-Editors – Emily Graves\, Billie McKelvie\, Teddy Kentor\nSound – Emily Graves\nProducers – Teddy Kentor\, Emily Graves\, Billie McKelvie\nAdditional sound – ann haeyoung” font_container=”tag:p|text_align:left” use_theme_fonts=”yes” css=””][vc_column_text css=””]New York’s Department of Sanitation has earned the nickname “New York’s Strongest” due to the physical demands of the labor. Bodybuilder Michael “Mikey Arms” Squiciari shares what it takes to last.[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Auction” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes” css=””][vc_custom_heading text=”Director/Camera: Anna Heisterkamp\nCo-Director/Camera: Ann Haeyoung\nEditor: Adam Mbowe” font_container=”tag:p|text_align:left” use_theme_fonts=”yes” css=””][vc_column_text css=””]The NYPD is responsible for towing cars which have accrued more than $350 in debt of fines to the city. Once the car is towed to the impound lot\, and has not been reclaimed\, it is sold off at auction to the highest bidder. This film reckons with access to a ritual; what does the camera do as it watches property which simultaneously belongs to its owner\, the carceral state\, and a crowd of prospective new owners? When theft is made legal\, who keeps the system running? What is the price of retaining a car as your own property? [/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]ABOUT THE UNIONDOCS COLLABORATIVE STUDIO \nThe UnionDocs Collaborative Studio is a fellowship program for non-fiction media research and group production. It seeks to bring together individual talents\, voices\, and stories to create multi-dimensional documentaries. For the past 10 months\, fellows have been immersed in research\, idea generation\, planning\, recording\, edits\, critiques\, and re-edits. Teams were formed around a set of select proposals\, which all moved through the stages of production in tandem. In addition to this production work\, fellows engage in masterclasses\, seminars\, and workshops on the history\, theory and practice of documentary arts.[/vc_column_text][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_custom_heading text=”Auction” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes” css=””][vc_custom_heading text=”Director/Camera – Anna Heisterkamp\nCo-Director/Camera – Ann Haeyoung\nEditor – Adam Mbowe” font_container=”tag:p|text_align:left” use_theme_fonts=”yes” css=””][vc_column_text css=””]Every weekday\, on the outskirts of every borough\, the New York City Marshal’s and Sheriff’s Offices auction off cars to the public. You cannot buy back your own car.[/vc_column_text][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/4″][vc_single_image image=”163296″ css=””][/vc_column][vc_column width=”3/4″][vc_column_text css=””]Billie McKelvie is a multimedia artist living and working in New York City. She is the co-director of Over the Board (NYC Short Documentary Film Festival 2025). In independent film\, she’s worked on a number of sets in New York in the camera and production departments and co-created Easy Eight Productions. [/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/4″][vc_single_image image=”163295″ css=””][/vc_column][vc_column width=”3/4″][vc_column_text css=””]Katyayani Kumar is a philosopher who writes and a poet who films. A director\, writer\, and editor raised between the US and India\, her work moves between fiction and nonfiction\, exploring stories that slip into the margins\, waiting to be rediscovered. Her short “Coffined at Fifteen\,” made with Afghan refugees\, premiered to a sold-out house at the Oscar-qualifying Dances With Films Festival. Her feature documentary “Sons of the River” has been supported by Tribeca\, DOC NYC\, Hot Docs\, Film Bazaar\, and others. Kumar is a Film Independent Documentary Story Lab Fellow and an Editing Fellow at the American Film Institute. She was selected by Academy Award–winning producer Guneet Monga to represent India at TIFF as part of the Women in Film delegation. As committed to the ecosystem as she is to her own work\, Kumar is a TEDx speaker\, has taught filmmaking in rural areas of North India\, and is passionate about expanding the infrastructure of nonfiction for the future generation of storytellers alongside her own. [/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/4″][vc_single_image image=”162135″ css=””][/vc_column][vc_column width=”3/4″][vc_column_text css=””]Sté Sassen is a visual anthropologist and artist known for her film Help Me Help You (2024). Her practice is intuitive and deeply inspired by symbolism\, psychology\, (neo-)conceptual art and the interrelationships between people\, public spaces and nature. Her work mirrors the female gaze\, ethics of representation\, and humans’ capacity for transformation. Colors\, sunrays\, shadows\, reflections and water are often aesthetics that draw her into metaphysical reflections or the magical mundane.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/4″][vc_single_image image=”163294″ css=””][/vc_column][vc_column width=”3/4″][vc_column_text css=””]Nichole Whitney is a documentary filmmaker and photographer based in Portland\, Maine. Her first short documentary\, The Round Forest\, premiered at the Camden International Film Festival in 2025. Her work centers on memory\, loss\, and creative reimagining.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/4″][vc_single_image image=”163297″ css=””][/vc_column][vc_column width=”3/4″][vc_column_text css=””]Jules Bradley is a farmer and mutli-media documentary artist with a background in audio storytelling based in Flatbush\, Brooklyn. She co-directed Inherited\, an anthology of climate audio stories from youth around the world spanning from reported features to speculative fiction. Her independent audio short “Thank You for Calling” was a 2022 BBC Radio pick of the year. Her curiosities lie in stories of rupture\, communal imagination\, and the layers of place – to name a few. [/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/4″][vc_single_image image=”163299″ css=””][/vc_column][vc_column width=”3/4″][vc_column_text css=””]ann haeyoung is an artist and writer based in Queens\, NY. Their work explores industrial histories\, labor\, and infrastructure through video\, text\, and research-based projects. They have shown their work at venues including Human Resources\, the Roswell Museum\, and The Mistake Room\, and their work has been published in Wired Magazine\, FLAT Journal\, and Solitude Journal. They are the co-founder of Broken Things Collective\, which organizes Repair Cafe NYC\, a community-based repair workshop.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/4″][vc_single_image image=”163298″ css=””][/vc_column][vc_column width=”3/4″][vc_column_text css=””]David Scheckel is a Brooklyn-based filmmaker from New Jersey with experience in both documentary and narrative filmmaking. Through his background in social history\, his work approaches documentary practice with a focus on collective understandings and place-based storytelling. [/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/4″][vc_single_image image=”163300″ css=””][/vc_column][vc_column width=”3/4″][vc_column_text css=””]Adam Mbowe is a Gambian-Canadian filmmaker and multidisciplinary artist based in Montreal. Working across documentary\, performance\, and experimental forms\, they explore memory\, identity\, and the complexities of Black diasporic experience. Blending personal history with collective narratives.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/4″][vc_single_image image=”163301″ css=””][/vc_column][vc_column width=”3/4″][vc_column_text css=””]Tomás Orrego is a Peruvian multidisciplinary artist and filmmaker with a background in architecture\, visual art and graphic design based in Brooklyn. Through humor\, experimental approaches and absurdity\, his work explores desire and its construction. His films have been screened internationally as part of various festivals and have been included in renowned platforms such as Labocine. His film\, Fever\, was selected as a semi finalist in the 2024 Student Academy Awards and his 16mm film Hotwire My Heart won the Kostanski Award at the BizarroLand Film Festival. His work extends to directing music videos\, designing title sequences and posters for films and illustrating album covers and concert flyers for a wide range of musicians.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/4″][vc_single_image image=”163302″ css=””][/vc_column][vc_column width=”3/4″][vc_column_text css=””]Teddy Kentor is an emerging documentary filmmaker based in New York. Before documentary\, he led the product experience for election coverage at The Washington Post and served as Director’s Assistant on a scripted series at Netflix.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/4″][vc_single_image image=”162133″ css=””][/vc_column][vc_column width=”3/4″][vc_column_text css=””]Emily Graves is an award-winning documentary filmmaker. Her short documentary THE GOATS OF MONESIGLIO\, 2022\, screened internationally (DOC NYC\, SIFF\, Sebastopol) and was nominated for a CSA for Best Short Documentary. She is currently in development on her first feature documentary BECOMING A LANDSCAPE (working title)\, which was selected to participate in the DOC Institute’s Breakthrough Development Lab in 2022\, the Hot Docs-Netflix Incubator 2024-25 and UnionDocs’ Early Production Lab 2025.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/4″][vc_single_image image=”162149″ css=””][/vc_column][vc_column width=”3/4″][vc_column_text css=””]Anna Heisterkamp is an artist and filmmaker from Dublin\, Ireland. Their work focuses on archiving and abstracting the present\, investigating structural issues through a spatial lens\, and questioning how systems of power function. An editor and cinematographer by trade\, they have directed over twent music videos and multiple moving image pieces which have been shown in galleries in Dublin\, Limerick and Belfast.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/4″][vc_single_image image=”163428″ css=””][/vc_column][vc_column width=”3/4″][vc_column_text css=””]radiodevil is a Jersey native with an unshakeable goal to make the people move. Carrying the energy of home onto the dance floor\, she blends Jersey club\, Brazilian funk\, House\, Hustle\, Bounce\, and Latin rhythms shaped by her Ecuadorian roots. She came up alongside the women-led DJ collective SIREN\, where she developed a high-energy sound rooted in experimentation\, movement\, and community. Since then\, she’s shared lineups with and opened for artists including Andrew VanWyngarden\, Ravyn Lenae\, and Joey Bada$$.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/collaborative-studio-preview-party-2026-06-13/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/gif:https://uniondocs.org/wp-content/uploads/2026/06/colabpreviewfeaturedimg.gif
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260607T190000
DTEND;TZID=America/New_York:20260607T190000
DTSTAMP:20261115T183325
CREATED:20260401T215917Z
LAST-MODIFIED:20260601T143332Z
UID:10003063-1780858800-1780858800@uniondocs.org
SUMMARY:To Commune Catalogue Launch & Screening:  A Flaherty on the Road Program
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text css=””]Doors 6:30p\nProgram 7:00p\nTickets $12[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text]UnionDocs\n352 Onderdonk Ave\nRidgewood\, NY[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_video link=”https://vimeo.com/851422192″][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””]The Flaherty and UnionDocs celebrate the launch of the To Commune digital catalogue with a screening of one of the seminar’s most beloved programs\, followed by a reception. The 69th Flaherty Film Seminar took place in late June 2024 at the Thai Film Archive in Salaya\, Thailand\, and was programmed by May Adadol Ingawanij and Julian Ross\, with UnionDocs hosting the seminar’s online experience. The To Commune digital catalogue will be available for free online starting June 7th on the Flaherty website and will feature a new piece by Bing\, a poem by Zakariya Amataya\, an interview with the Thai Film Archive and the Flaherty team conducted by Devika Girish\, pieces by Nadia Yahlom\, Cici Peng\, Jean Ma\, Anuj Malhotra\, Jooyeon Lee\, and Wiwat Lertwiwatwongsa\, as well as the complete seminar program with film notes and artist biographies. \nJoin us for a special screening and celebration – The film program features a rare screening of Tongpan (1977)\, the Isan Film Collective’s landmark docu-drama about the struggles of Northeastern Thai villagers\, alongside Chikako Yamashiro’s I Like Okinawa Sweet (2004). [/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nProgram \n[/vc_column_text][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \n\nI Like Okinawa Sweet by Chikako Yamashiro\n\n[/vc_column_text][vc_column_text css=””]Okinawa/Japan\, 2004\, 7 min[/vc_column_text][vc_column_text css=””]Leaning over a fence surrounding a U.S. military base\, a woman happily eats ice cream someone gave her. The ice cream symbolizes both a compensation policy for the accepted bases and an image of tourism unilaterally imposed. The filmmaker herself plays the role of the woman who plays the role of Okinawa itself\, embodying through simulationism the present tense of local culture’s disappearance and rapid homogenization.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \n\nTongpan (ทองปาน) by Isan Film Collective\n\n[/vc_column_text][vc_column_text css=””]Thailand\, 1977\, 60 min[/vc_column_text][vc_column_text css=””]A landmark film shot after the October 14\, 1973 student uprising and finished after the October 6\, 1976 massacre at Thammasat University\, Tongpan is a social-realist docu-drama about the hardship of Northeastern villagers and the uncertainties that arise after a plan to build Pha Mong Dam. The narrative intercuts between gritty\, documentary-like portrayal of rural existence and a seminar room in which academics and government representatives argue about the dam’s real benefits. Made by a group of activists and filmmakers\, many of whom were persecuted in the anti-communist purge after October 1976\, the film was edited in Hong Kong\, Sweden\, and finally finished in the U.S. It remains one of the most important socio-political films ever made in Thailand.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”40px”][vc_single_image image=”147742″ img_size=”full”][vc_column_text] \nWatch the conversation between Presenter1\, Presenter2 and Presenter 3 on the UnionDocs’ Membership hub. \n[/vc_column_text][vc_btn title=”Watch” style=”outline-custom” outline_custom_color=”#ffffff” outline_custom_hover_background=”#adadcc” outline_custom_hover_text=”#0000cd” shape=”round” align=”center” css_animation=”bounceIn”][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nBios \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”163190″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Chikako Yamashiro is a Japanese filmmaker and video artist. Her works in photography\, video and performance create visual investigations into the history\, politics and culture of her homeland Okinawa. Particularly salient are themes related to the terrible civilian casualties incurred in Okinawa\, Japan during World War II and the on-going troubles and hardships caused by the U.S. military presence there. Since 2019 she is associate professor at the Tokyo University of the Arts.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”163191″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]The Isan Film Group was a collective of student artist-activists formed around Paijong Laisakul\, Surachai Jantimatorn and Euthana Mukdasanit from the leftist youth-counterculture movement at Thammasat University two years after the Siamese revolution. Together they produced the film Tongpan\, for which the filmmakers were arrested during the 1973 crackdown. The film was later banned until 1978 for its socialist undertone\, making it an easy target for accusations of communism. The film never received a theatrical release and instead entered into a network of makeshift itinerant guerrilla screenings\, re-appropriating the spaces used by US sponsored screenings of propaganda films against communism. Within this historical background of both national as well as international power configurations\, Tongpan is today re-visited as an important document of Thai film history\, not only for its content but also its dissemination.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nFrom the Event \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][vc_media_grid style=”pagination” items_per_page=”1″ element_width=”12″ arrows_design=”vc_arrow-icon-arrow_01_left” arrows_position=”outside” arrows_color=”white” loop=”yes” item=”136647″ grid_id=”vc_gid:1779284812013-656a1c9e-362b-4″ include=”147747\,147746\,147745″][vc_empty_space height=”30px”][/vc_column][/vc_row]
URL:https://uniondocs.org/event/to-commune-digital-catalogue-launch-screening-a-flaherty-on-the-road-program-2026-06-07/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/gif:https://uniondocs.org/wp-content/uploads/2026/05/giphhy.gif
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260607T160000
DTEND;TZID=America/New_York:20260607T173000
DTSTAMP:20261115T183325
CREATED:20260402T221520Z
LAST-MODIFIED:20260518T203139Z
UID:10003054-1780848000-1780853400@uniondocs.org
SUMMARY:Documentary Fundamentals:  Festival Strategy\, Distribution & Impact
DESCRIPTION:[vc_row][vc_column][vc_empty_space height=”40px”][vc_separator color=”custom” accent_color=”#ffffff”][vc_empty_space height=”40px”][vc_column_text css=””]We’re excited that this year’s Documentary Fundamentals series centers on the kinetic and timely Emergent City by Kelly Anderson and Jay Arthur Sterrenberg—a film that follows a local story but whose message is far-reaching and broadly relatable. In this session\, Kelly and Jay are joined by publicist Sylvia Savadijan and Robert Salyer\, Director of Outreach and Impact at American Documentary\, Inc. | POV\, who will share insights into educational distribution and audience strategy—exploring how documentaries find their viewers\, build impact\, and extend their life beyond the festival circuit. \nThis session will be all about releasing and publicising your next documentary. How can you find and reach audiences for your film?  How do you know if your film is best suited for theatrical\, broadcast\, or both? How do digital platforms affect “traditional” models of distribution and release? How can you best utilize your film festival campaign? Another can’t-miss session![/vc_column_text][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column][vc_separator color=”custom” accent_color=”#ffffff”][vc_column_text] \nBuy a Series Pass \n[/vc_column_text][vc_separator color=”custom” accent_color=”#ffffff”]$175.00Add to cart	\n			\n [vc_column_text css=””]DOCUMENTARY FUNDAMENTALS: A professional development series designed to give the emerging or intermediate documentary filmmaker an inside look at the filmmaking process from pre-production planning to post-production and distribution. Over the past few years\, UnionDocs has developed this ongoing program for documentarians that desire a better foundation for navigating the modern landscape of independent filmmaking. This six-part program takes place over the course of one weekend at UnionDocs. Buy a SERIES PASS ($175) or choose to attend individual sessions ($35/each).[/vc_column_text][vc_empty_space height=”40px”][vc_separator color=”custom” accent_color=”#ffffff”][vc_column_text] \nInstructors \n[/vc_column_text][vc_separator color=”custom” accent_color=”#ffffff”][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”162386″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Kelly Anderson is a Sunset Park based documentary filmmaker whose most recent film is Rabble Rousers: Frances Goldin and the Fight for Cooper Square (w. Ryan Joseph and Kathryn Barnier). Her 2012 film My Brooklyn\, about the hidden forces driving gentrification\, was broadcast on PBS’ America ReFramed. Kelly produced and directed Every Mother’s Son (PBS\, 2004\, w. Tami Gold)\, about mothers whose children were killed by police\, which won the Tribeca Audience Award and aired on POV. She produced and directed Out At Work (HBO\, 2000\, w. Tami Gold)\, which premiered at Sundance. Kelly chairs the Department of Film and Media Studies at Hunter College (CUNY).[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”162394″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Jay Arthur Sterrenberg is a New York City based filmmaker\, editor and co-founder of the Meerkat Media Collective whose work has screened at Sundance\, Tribeca\, IDFA\, CPH:DOX and broadcast on PBS\, HBO\, Netflix & Hulu. \n\nJay’s two decade documentary editing career began with collaborations with DCTV’s Jon Alpert & Matt O’Neil on the HBO documentaries Section 60: Arlington National Cemetery (2008)\, Wartorn (2010) and Oscar nominated Redemption (2012). He also edited the Oscar shortlisted films Dark Money (dir. Kimberly Reed\, 2018) and After Maria (dir. Nadia Hallgren\, 2019) and a has had a long collaboration with filmmaking duo Shaul Schwarz & Christina Clusiau – Narco Cultura (Sundance 2013)\, Emmy-winning Trophy (CNN Films\, 2017)\, Emmy-nominated FLY (Nat Geo\, 2024) and the 2020 Netflix doc series Immigration Nation\, which won a Peabody Award and Best New Documentary Series at the Independent Spirit Awards. \n\nAs a director\, his films find cinematic ways to explore process & democracy. A believer in collective filmmaking\, he co-directed many independent films with the Meerkat Media Collective including Stages (2010)\, Consensus: Direct Democracy at Occupy Wall Street (2011) and Brasslands (2013). His solo directorial debut was the observational short film Public Money (POV\, 2018) which paved the way for the feature-length collaboration with Kelly Anderson: Emergent City (POV\, 2025).[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”162387″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Sylvia Savadjian is a New York based film publicist. Work includes festival PR for Museum of the Moving Image’s First Look\, DOC NYC\, Full Frame\, staff roles at Kino Lorber\, Maysles Documentary Center and HBO in publicity\, marketing\, acquisitions and programming.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”162496″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Robert Salyer is Director of Outreach and Impact at American Documentary\, Inc.\, leading national outreach campaigns and partnership development for award-winning films and impact initiatives. He spearheads the Our America: Documentaries in Dialogue project\, a long-running effort that empowers PBS stations and local partners to foster meaningful civic dialogue around urgent social issues. To date\, he has supported the impact campaigns of more than 70 POV films\, encompassing a wide range of issues and engaging audiences across the country. \nWith more than 25 years of experience in documentary film and community media\, Robert previously spent much of his career at Appalshop\, Inc.\, where he directed and produced films focused on Appalachian culture. His credits include work with CNBC\, HBO\, Greenpeace\, and Lost Nation Pictures\, among others.  His films have screened widely in the U.S. and internationally\, including at MoMA’s Documentary Fortnight and Festival Film Dokumenter in Yogyakarta\, Indonesia. \nRobert has been deeply involved in media education and youth training. He taught documentary filmmaking at Kentucky State University\, served as a longtime instructor with the Appalachian Media Institute\, and facilitated a U.S. State Department–funded media exchange with Indonesian filmmakers. He has worked as a community organizer with the Virginia Organizing Project and mentored emerging filmmakers through NYU Tisch’s summer immersion program.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/documentary-fundamentals-festival-strategy-distribution-impact-2026-06-07/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/gif:https://uniondocs.org/wp-content/uploads/2026/04/1gif.gif
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260607T140000
DTEND;TZID=America/New_York:20260607T153000
DTSTAMP:20261115T183325
CREATED:20260402T220039Z
LAST-MODIFIED:20260529T150410Z
UID:10003053-1780840800-1780846200@uniondocs.org
SUMMARY:Documentary Fundamentals: Editing\, Music & Sound
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text css=””]Doors 1:30p\nProgram 2:00p[/vc_column_text][/vc_column][vc_column width=”1/2″][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”40px”][vc_separator color=”custom” accent_color=”#ffffff”][vc_empty_space height=”40px”][vc_column_text css=””]We’re excited that this year’s Documentary Fundamentals series centers on the kinetic and timely Emergent City by Kelly Anderson and Jay Arthur Sterrenberg—a film that skilfully builds tension\, energy and forward momentum with the aid of precise editing and a detailed sound design. In this session\, participants will be guided through the post production process with directors and hosts Kelly and Jay\, joined by sound designer & composer Gisela Fullà-Silvestre and consulting editor Zara Serabian-Arthur.  \nThis session is about navigating the post-production process on your next documentary. How does a story emerge from a pile of footage and sound? How can the power of music and sound be harnessed to propel the story forward and highlight the themes? How can documentary directors work effectively with editors\, sound designers\, and other essential post-production talent? Can you really “fix it in post”? What is an online edit and can you do it yourself? How can music underscore emotion or rhythm? [/vc_column_text][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column][vc_separator color=”custom” accent_color=”#ffffff”][vc_column_text] \nBuy a Series Pass \n[/vc_column_text][vc_separator color=”custom” accent_color=”#ffffff”]$175.00Add to cart	\n			\n [vc_column_text css=””]DOCUMENTARY FUNDAMENTALS: A professional development series designed to give the emerging or intermediate documentary filmmaker an inside look at the filmmaking process from pre-production planning to post-production and distribution. Over the past few years\, UnionDocs has developed this ongoing program for documentarians that desire a better foundation for navigating the modern landscape of independent filmmaking. This six-part program takes place over the course of one weekend at UnionDocs. Buy a SERIES PASS ($175) or choose to attend individual sessions ($35/each).[/vc_column_text][vc_separator color=”custom” accent_color=”#ffffff”][vc_column_text] \nInstructors \n[/vc_column_text][vc_separator color=”custom” accent_color=”#ffffff”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”162386″ css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Kelly Anderson is a Sunset Park based documentary filmmaker whose most recent film is Rabble Rousers: Frances Goldin and the Fight for Cooper Square (w. Ryan Joseph and Kathryn Barnier). Her 2012 film My Brooklyn\, about the hidden forces driving gentrification\, was broadcast on PBS’ America ReFramed. Kelly produced and directed Every Mother’s Son (PBS\, 2004\, w. Tami Gold)\, about mothers whose children were killed by police\, which won the Tribeca Audience Award and aired on POV. She produced and directed Out At Work (HBO\, 2000\, w. Tami Gold)\, which premiered at Sundance. Kelly chairs the Department of Film and Media Studies at Hunter College (CUNY).[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”162394″ css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Jay Arthur Sterrenberg is a New York City based filmmaker\, editor and co-founder of the Meerkat Media Collective whose work has screened at Sundance\, Tribeca\, IDFA\, CPH:DOX and broadcast on PBS\, HBO\, Netflix & Hulu. \n\nJay’s two decade documentary editing career began with collaborations with DCTV’s Jon Alpert & Matt O’Neil on the HBO documentaries Section 60: Arlington National Cemetery (2008)\, Wartorn (2010) and Oscar nominated Redemption (2012). He also edited the Oscar shortlisted films Dark Money (dir. Kimberly Reed\, 2018) and After Maria (dir. Nadia Hallgren\, 2019) and a has had a long collaboration with filmmaking duo Shaul Schwarz & Christina Clusiau – Narco Cultura (Sundance 2013)\, Emmy-winning Trophy (CNN Films\, 2017)\, Emmy-nominated FLY (Nat Geo\, 2024) and the 2020 Netflix doc series Immigration Nation\, which won a Peabody Award and Best New Documentary Series at the Independent Spirit Awards. \n\nAs a director\, his films find cinematic ways to explore process & democracy. A believer in collective filmmaking\, he co-directed many independent films with the Meerkat Media Collective including Stages (2010)\, Consensus: Direct Democracy at Occupy Wall Street (2011) and Brasslands (2013). His solo directorial debut was the observational short film Public Money (POV\, 2018) which paved the way for the feature-length collaboration with Kelly Anderson: Emergent City (POV\, 2025).[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”162389″ css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Gisela Fullà-Silvestre is a Barcelona-born\, New York–based composer\, sound designer\, re-recording mixer\, and vocalist whose work spans award-winning film\, television\, and music. Her projects include Academy Award–nominated and major festival premieres (Sundance\, Tribeca\, Berlinale\, SXSW)\, as well as the Emmy Award–winning ¡Atención! Murdered Next Door\, with releases on PBS and Netflix. She also performs as NOIA\, an experimental pop project acclaimed by Pitchfork and The New York Times\, and is a 2022 NYFA Women’s Fund Fellow.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”162388″ css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Zara Serabian-Arthur is a documentary editor and producer\, and a co-founder of Meerkat Media\, an award-winning production company cooperative based in Brooklyn\, NY. Her work has been featured on Hulu\, PBS\, National Geographic\, The New York Times\, and The New Yorker\, premiered at Sundance\, and screened theatrically. Recent credits include Stolen Youth (Hulu\, series editor)\, Art21: Between Worlds (PBS\, editor)\, and Justice (Sundance\, editor). As an editor\, Zara is committed to telling complex stories with empathy and care\, exploring power\, resilience\, and the possibility of transformation. Across both her filmmaking and her organizing within cooperative and solidarity economy movements\, she works to shift dominant narratives toward mutualism\, economic democracy\, and more just futures.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/documentary-fundamentals-editing-music-sound-2026-06-07/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/gif:https://uniondocs.org/wp-content/uploads/2026/04/2gif-1.gif
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260606T160000
DTEND;TZID=America/New_York:20260606T173000
DTSTAMP:20261115T183325
CREATED:20260402T215556Z
LAST-MODIFIED:20260606T183023Z
UID:10003052-1780761600-1780767000@uniondocs.org
SUMMARY:Documentary Fundamentals:  Access & Working in the Field
DESCRIPTION:[vc_row][vc_column][vc_empty_space height=”40px”][vc_separator color=”custom” accent_color=”#ffffff”][vc_empty_space height=”40px”][vc_column_text css=””]We’re excited that this year’s Documentary Fundamentals series centers on the kinetic and timely Emergent City by Kelly Anderson and Jay Arthur Sterrenberg—a film that exemplifies the social and ethical principles of observational documentary\, and is remarkable for its insight into often opaque political spaces. In this session\, Kelly and Jay are joined by field producer Betty Yu and cinematographer Alex Mallis\, to discuss the ins and outs of managing access to the spaces and participants\, and the complexities of working in the field. \nA crucial\, but often overlooked piece in the documentary puzzle is the management of participants and spaces the filmmakers set out to document. Emergent City‘s chronicling of a complicated political process\, involving multiple groups (made up of diverse individuals) with divergent interests and differences of opinions presents a marvel of access management and field production. Learn about how the team gained and maintained working relationships with each participant and stakeholder. How do you get permission to film in sensitive environments? What needs to be taken into account during the shoot\, in order to keep getting allowed back? How does a documentary team communicate its intentions to different groups with different objectives? [/vc_column_text][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column][vc_separator color=”custom” accent_color=”#ffffff”][vc_column_text] \nBuy a Series Pass \n[/vc_column_text][vc_separator color=”custom” accent_color=”#ffffff”]$175.00Add to cart	\n			\n [vc_column_text css=””]DOCUMENTARY FUNDAMENTALS: A professional development series designed to give the emerging or intermediate documentary filmmaker an inside look at the filmmaking process from pre-production planning to post-production and distribution. Over the past few years\, UnionDocs has developed this ongoing program for documentarians that desire a better foundation for navigating the modern landscape of independent filmmaking. This six-part program takes place over the course of one weekend at UnionDocs. Buy a SERIES PASS ($175) or choose to attend individual sessions ($35/each).[/vc_column_text][vc_empty_space height=”40px”][vc_separator color=”custom” accent_color=”#ffffff”][vc_column_text] \nInstructors \n[/vc_column_text][vc_separator color=”custom” accent_color=”#ffffff”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”162386″ css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Kelly Anderson is a Sunset Park based documentary filmmaker whose most recent film is Rabble Rousers: Frances Goldin and the Fight for Cooper Square (w. Ryan Joseph and Kathryn Barnier). Her 2012 film My Brooklyn\, about the hidden forces driving gentrification\, was broadcast on PBS’ America ReFramed. Kelly produced and directed Every Mother’s Son (PBS\, 2004\, w. Tami Gold)\, about mothers whose children were killed by police\, which won the Tribeca Audience Award and aired on POV. She produced and directed Out At Work (HBO\, 2000\, w. Tami Gold)\, which premiered at Sundance. Kelly chairs the Department of Film and Media Studies at Hunter College (CUNY).[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”162394″ css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Jay Arthur Sterrenberg is a New York City based filmmaker\, editor and co-founder of the Meerkat Media Collective whose work has screened at Sundance\, Tribeca\, IDFA\, CPH:DOX and broadcast on PBS\, HBO\, Netflix & Hulu. \nJay’s two decade documentary editing career began with collaborations with DCTV’s Jon Alpert & Matt O’Neil on the HBO documentaries Section 60: Arlington National Cemetery (2008)\, Wartorn (2010) and Oscar nominated Redemption (2012). He also edited the Oscar shortlisted films Dark Money (dir. Kimberly Reed\, 2018) and After Maria (dir. Nadia Hallgren\, 2019) and a has had a long collaboration with filmmaking duo Shaul Schwarz & Christina Clusiau – Narco Cultura (Sundance 2013)\, Emmy-winning Trophy (CNN Films\, 2017)\, Emmy-nominated FLY (Nat Geo\, 2024) and the 2020 Netflix doc series Immigration Nation\, which won a Peabody Award and Best New Documentary Series at the Independent Spirit Awards. \nAs a director\, his films find cinematic ways to explore process & democracy. A believer in collective filmmaking\, he co-directed many independent films with the Meerkat Media Collective including Stages (2010)\, Consensus: Direct Democracy at Occupy Wall Street (2011) and Brasslands (2013). His solo directorial debut was the observational short film Public Money (POV\, 2018) which paved the way for the feature-length collaboration with Kelly Anderson: Emergent City (POV\, 2025).[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”162391″ css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Betty Yu is an award-winning filmmaker\, socially engaged multimedia artist\, photographer and activist born and raised in NYC. Yu integrates documentary film\, photography\, installation\, new media platforms\, and community-infused approaches into her practice. Betty’s films and multimedia work has focused on labor\, immigration\, gentrification\, abolition\, racism\, militarism\, transgender equality among other issues. She is a co-founder of Chinatown Art Brigade\, a cultural collective using art to advance anti-displacement fights. Ms. Yu’s documentary “Resilience” about her garment worker mother fighting sweatshop conditions screened at film festivals including the Margaret Mead Film Festival. \nHer work has been exhibited and screened at the Brooklyn Museum\, Queens Museum\, NY Historical Society\, Museum of the City of NY\,  Artists Space/ISP Whitney Museum\, The Highline\, Tenement Museum\,\, 2019 BRIC Biennial\, Apexart\, Pace University Art Gallery\, Transmitter Gallery\, 601 Artspace\, Five Myles\, Squeaky Wheel Film and Media Art Center\, Bullet Space\, Carriage Trade\, Old Stone House and MAXXI in Rome. “The Garment Worker”\, an interactive installation\, was featured at Tribeca Film Institute’s Interactive Showcase. Her multimedia installation\, “Resistance in Progress”\, highlighting housing activism in Flushing was featured at the Queens Museum. Betty had her first solo exhibition\, “(Dis)Placed in Sunset Park” at Open Source Gallery. Ms. Yu won the Aronson Social Justice Award for her film “Three Tours” about U.S. veterans returning home from war in Iraq\, and their journey to overcome PTSD. Her photography and art college book\, Family Amnesia: Chinese American Resilience was released in Summer 2025. \nHer work has received coverage in outlets including New York Times\, CNN\, HBO VICE News Tonight\, i-D Vice Media\, Art Forum\, ARTNews\, Sinovision\, Hyperallergic\, E-Flux\, F-Stop Magazine\, The Eye of Photography Magazine\, La Belle Revue Art Journal & Studio International.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”162390″ css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Alex Mallis is a Cuban-American\, Jewish filmmaker raised in New Hampshire now living in Brooklyn\, NY. His short films have been distributed by PBS\, Criterion\, The New Yorker\, and The Atlantic. His debut feature The Travel Companion premiered at the 2025 Tribeca Film Festival and is being distributed by Oscilloscope Laboratories. His short documentary Shut Up And Paint (2022) was awarded Grand Jury Prize at IFF Boston and Big Sky Documentary Film Festival\, shortlisted for the 95th Academy Awards\, and broadcast nationally on POV.  Alex received an MFA in Integrated Media Arts from Hunter College (CUNY) and is an active member of the Brooklyn Filmmakers Collective and the Meerkat Media Collective.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row]
URL:https://uniondocs.org/event/documentary-fundamentals-access-working-in-the-field-2026-06-06/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/gif:https://uniondocs.org/wp-content/uploads/2026/04/3gif.gif
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260606T140000
DTEND;TZID=America/New_York:20260606T153000
DTSTAMP:20261115T183325
CREATED:20260402T214552Z
LAST-MODIFIED:20260506T134816Z
UID:10003051-1780754400-1780759800@uniondocs.org
SUMMARY:Documentary Fundamentals:  Observation\, Interviews and Cinematography
DESCRIPTION:[vc_row][vc_column][vc_empty_space height=”40px”][vc_separator color=”custom” accent_color=”#ffffff”][vc_empty_space height=”40px”][vc_column_text css=””]We’re excited that this year’s Documentary Fundamentals series centers on the kinetic and timely Emergent City by Kelly Anderson and Jay Arthur Sterrenberg—a film that combines skillful interviewing with the urgency and incisiveness of vérité storytelling\, both immersing the audience in the unfolding events while guiding them through each with revealing insights from the participants. In this session\, co-directors Kelly and Jay will be joined by cinematographer Sean Hanley as they discuss building their visual storytelling style\, crafting original imagery\, and interview techniques to bring the film’s narrative complexities to life. \nThis session will be all about shooting your next documentary. Learn about the practicalities of shooting unpredictable events and preparing a camera that’s alive to the moment. What kinds of aesthetic considerations are taken into account? What kind of equipment do you need? What kinds of conversations go on between a cinematographer and a director before and during an observational film shoot? How does the framing of an interview\, both editorially and cinematographically\, impact the narrative? Join us to enrich your understanding of observational filmmaking. [/vc_column_text][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column][vc_separator color=”custom” accent_color=”#ffffff”][vc_column_text] \nBuy a Series Pass \n[/vc_column_text][vc_separator color=”custom” accent_color=”#ffffff”]$175.00Add to cart	\n			\n [vc_column_text css=””]DOCUMENTARY FUNDAMENTALS: A professional development series designed to give the emerging or intermediate documentary filmmaker an inside look at the filmmaking process from pre-production planning to post-production and distribution. Over the past few years\, UnionDocs has developed this ongoing program for documentarians that desire a better foundation for navigating the modern landscape of independent filmmaking. This six-part program takes place over the course of one weekend at UnionDocs. Buy a SERIES PASS ($175) or choose to attend individual sessions ($35/each).[/vc_column_text][vc_empty_space height=”40px”][vc_separator color=”custom” accent_color=”#ffffff”][vc_column_text] \nInstructors \n[/vc_column_text][vc_separator color=”custom” accent_color=”#ffffff”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”162386″ css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Kelly Anderson is a Sunset Park based documentary filmmaker whose most recent film is Rabble Rousers: Frances Goldin and the Fight for Cooper Square (w. Ryan Joseph and Kathryn Barnier). Her 2012 film My Brooklyn\, about the hidden forces driving gentrification\, was broadcast on PBS’ America ReFramed. Kelly produced and directed Every Mother’s Son (PBS\, 2004\, w. Tami Gold)\, about mothers whose children were killed by police\, which won the Tribeca Audience Award and aired on POV. She produced and directed Out At Work (HBO\, 2000\, w. Tami Gold)\, which premiered at Sundance. Kelly chairs the Department of Film and Media Studies at Hunter College (CUNY).[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”162394″ css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Jay Arthur Sterrenberg is a New York City based filmmaker\, editor and co-founder of the Meerkat Media Collective whose work has screened at Sundance\, Tribeca\, IDFA\, CPH:DOX and broadcast on PBS\, HBO\, Netflix & Hulu. \nJay’s two decade documentary editing career began with collaborations with DCTV’s Jon Alpert & Matt O’Neil on the HBO documentaries Section 60: Arlington National Cemetery (2008)\, Wartorn (2010) and Oscar nominated Redemption (2012). He also edited the Oscar shortlisted films Dark Money (dir. Kimberly Reed\, 2018) and After Maria (dir. Nadia Hallgren\, 2019) and a has had a long collaboration with filmmaking duo Shaul Schwarz & Christina Clusiau – Narco Cultura (Sundance 2013)\, Emmy-winning Trophy (CNN Films\, 2017)\, Emmy-nominated FLY (Nat Geo\, 2024) and the 2020 Netflix doc series Immigration Nation\, which won a Peabody Award and Best New Documentary Series at the Independent Spirit Awards. \nAs a director\, his films find cinematic ways to explore process & democracy. A believer in collective filmmaking\, he co-directed many independent films with the Meerkat Media Collective including Stages (2010)\, Consensus: Direct Democracy at Occupy Wall Street (2011) and Brasslands (2013). His solo directorial debut was the observational short film Public Money (POV\, 2018) which paved the way for the feature-length collaboration with Kelly Anderson: Emergent City (POV\, 2025).[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”162392″ css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Sean Hanley is a documentary cinematographer versed in longitudinal vérité projects but with a knack for creative non-fiction and experimental techniques. His work has therefore screened across a spectrum of festivals\, from Sundance to MoMA’s Documentary Fortnight. Recent credits include Judd Ehrlich’s Jane Eliott Against the World (2026\, Sundance)\, Debra Granik’s series CONBODY vs. Everybody (2024\, Sundance)\, and Jay Arthur Sterrenberg and Kelly Anderson’s Emergent City (2024\, Tribeca). He has held a long and productive collaboration with experimental documentarian Lynne Sachs starting with Your Day is My Night (2013\, MoMA Documentary Fortnight)\, Tip of My Tongue (2015\, Closing Night of MoMA Documentary Fortnight)\, and Contractions (2024\, NYTimes OpDocs). He is a member of the Documentary Cinematographer’s Alliance and the Meerkat Media Collective.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/documentary-fundamentals-observation-interviews-and-cinematography-2026-06-06/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/gif:https://uniondocs.org/wp-content/uploads/2026/04/4gif.gif
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260606T110000
DTEND;TZID=America/New_York:20260606T123000
DTSTAMP:20261115T183325
CREATED:20260402T213026Z
LAST-MODIFIED:20260529T150415Z
UID:10003050-1780743600-1780749000@uniondocs.org
SUMMARY:Documentary Fundamentals:  Researching\, Development & Financing
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text css=””]Doors 10:30a\nProgram 11:00a[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text css=””]UnionDocs\n352 Onderdonk Ave\nRidgewood\, NY[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”40px”][vc_separator color=”custom” accent_color=”#ffffff”][vc_empty_space height=”40px”][vc_column_text css=””]We’re excited that this year’s Documentary Fundamentals series centers on the kinetic and timely Emergent City by Kelly Anderson and Jay Arthur Sterrenberg—a film whose impact comes from the filmmakers evident patience\, commitment to the subject and time spent following the development of the story. In this session on research\, development and financing\, directors Jay and Kelly are joined by filmmaker and executive producer Stephen Maing\, to explore how projects like this are brought to life from the earliest stages: building a compelling concept and pitch\, securing partners\, and navigating the complex ecosystem of funding independent documentaries. \nThis session is all about developing and financing your next documentary. It will address the eternal question: how to finance your doc? What are the pros and cons of different fundraising options and how does someone get started on this process? Pitching\, how to pitch and successfully apply for grants\, and routes to markets will be discussed in this can’t-miss session.[/vc_column_text][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column][vc_separator color=”custom” accent_color=”#ffffff”][vc_column_text] \nBuy a Series Pass \n[/vc_column_text][vc_separator color=”custom” accent_color=”#ffffff”]$175.00Add to cart	\n			\n [vc_column_text css=””]DOCUMENTARY FUNDAMENTALS: A professional development series designed to give the emerging or intermediate documentary filmmaker an inside look at the filmmaking process from pre-production planning to post-production and distribution. Over the past few years\, UnionDocs has developed this ongoing program for documentarians that desire a better foundation for navigating the modern landscape of independent filmmaking. This six-part program takes place over the course of one weekend at UnionDocs. Buy a SERIES PASS ($175) or choose to attend individual sessions ($35/each).[/vc_column_text][vc_empty_space height=”40px”][vc_separator color=”custom” accent_color=”#ffffff”][vc_column_text] \nInstructors \n[/vc_column_text][vc_separator color=”custom” accent_color=”#ffffff”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”162386″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Kelly Anderson is a Sunset Park based documentary filmmaker whose most recent film is Rabble Rousers: Frances Goldin and the Fight for Cooper Square (w. Ryan Joseph and Kathryn Barnier). Her 2012 film My Brooklyn\, about the hidden forces driving gentrification\, was broadcast on PBS’ America ReFramed. Kelly produced and directed Every Mother’s Son (PBS\, 2004\, w. Tami Gold)\, about mothers whose children were killed by police\, which won the Tribeca Audience Award and aired on POV. She produced and directed Out At Work (HBO\, 2000\, w. Tami Gold)\, which premiered at Sundance. Kelly chairs the Department of Film and Media Studies at Hunter College (CUNY).[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”162394″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Jay Arthur Sterrenberg is a New York City based filmmaker\, editor and co-founder of the Meerkat Media Collective whose work has screened at Sundance\, Tribeca\, IDFA\, CPH:DOX and broadcast on PBS\, HBO\, Netflix & Hulu. \nJay’s two decade documentary editing career began with collaborations with DCTV’s Jon Alpert & Matt O’Neil on the HBO documentaries Section 60: Arlington National Cemetery (2008)\, Wartorn (2010) and Oscar nominated Redemption (2012). He also edited the Oscar shortlisted films Dark Money (dir. Kimberly Reed\, 2018) and After Maria (dir. Nadia Hallgren\, 2019) and a has had a long collaboration with filmmaking duo Shaul Schwarz & Christina Clusiau – Narco Cultura (Sundance 2013)\, Emmy-winning Trophy (CNN Films\, 2017)\, Emmy-nominated FLY (Nat Geo\, 2024) and the 2020 Netflix doc series Immigration Nation\, which won a Peabody Award and Best New Documentary Series at the Independent Spirit Awards. \nAs a director\, his films find cinematic ways to explore process & democracy. A believer in collective filmmaking\, he co-directed many independent films with the Meerkat Media Collective including Stages (2010)\, Consensus: Direct Democracy at Occupy Wall Street (2011) and Brasslands (2013). His solo directorial debut was the observational short film Public Money (POV\, 2018) which paved the way for the feature-length collaboration with Kelly Anderson: Emergent City (POV\, 2025).[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”162724″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Stephen Maing is an Emmy-award winning filmmaker\, cinematographer and editor based in New York City. His films UNION (P.O.V./Criterion Channel) and CRIME + PUNISHMENT (Hulu) both won Special Jury Awards at the Sundance Film Festival and were shortlisted for the Academy Award for Best Documentary. His most recent film THE GREAT EXPERIMENT\, is an ambitious cinematic exploration of one of the most volatile and perplexing eras of American history & identity. He has collaborated closely with whistleblowers in the NYPD\, dissident citizen reporters in China\, Amazon worker-turned-organizers in Staten Island\, journalists exposing illicit cartel-run gold mining in the Amazon rain forest and leakers in the State Department. He was story producer and an editor on the Oscar-winning short doc ALL THE EMPTY ROOMS (Netflix) and executive producer on the P.O.V. feature doc EMERGENT CITY. His films seek to expand the aesthetic form and limits of longitudinal nonfiction filmmaking. They are visual investigations of societal phenomena\, complex power structures and the fascinating individuals who challenge them. Maing has received fellowships from The Guggenheim Foundation\, United States Artists\, Sundance Institute\, NBC Original Voices\, and was recipient of the IDA’s prestigious Courage Under Fire Award.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row]
URL:https://uniondocs.org/event/documentary-fundamentals-researching-development-financing2026-06-06/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/gif:https://uniondocs.org/wp-content/uploads/2026/04/5gif.gif
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260605T190000
DTEND;TZID=America/New_York:20260607T180000
DTSTAMP:20261115T183325
CREATED:20260402T210012Z
LAST-MODIFIED:20260529T145344Z
UID:10003048-1780686000-1780855200@uniondocs.org
SUMMARY:Documentary Fundamentals 2026: Emergent City
DESCRIPTION:[vc_row][vc_column][vc_column_text css=””]Today’s documentary landscape is rapidly evolving with new avenues and pitfalls around every corner. DOC FUNDAMENTALS\, our annual six session professional development series\, responds each year to the changes we see in the field and is geared towards preparing emerging and mid-career independent filmmakers with all the nuts-and-bolts knowledge they need to complete a feature documentary. \nWe’re overjoyed that this year’s Documentary Fundamentals course is led by Kelly Anderson and Jay Arthur Sterrenberg\, the directing duo behind the observational documentary feature Emergent City\, a timely and unflinching insight into local politics and the political process. “The best New York City-based documentary in a decade” according to Hell Gate\, Emergent City is a masterclass in verite and participant management\, with incredible access to the multiple layers of a local story with far reaching resonance. You’re invited to follow along and trace the trajectory of this recent documentary all the way from development and pre-production stages to production and post-production\, through its festival run\, distribution and continued exhibition life. \nEmergent City will serve as a case-study across each session\, including DEVELOPMENT & FINANCING\, VISUAL LANGUAGE\, WORKING IN THE FIELD\, POST PRODUCTION and FINDING AN AUDIENCE\, and ultimately could serve as a possible model for your own documentary. \nEach session features a range of exciting\, experienced and award-winning professionals from the field\, who contributed to bringing Emergent City to life\, and who represent all aspects of producing a documentary feature. It is perfect as a primer or as a way to refocus and rethink your project in today’s changing documentary landscape! You can attend all sessions with a SERIES PASS or just tackle the hurdles where you need help with a single session.[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”BUY SERIES PASS – ALL ACCESS” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”]$175.00Add to cart	\n			\n [vc_column_text css=””]The full series pass includes access to all of the 2025 Documentary Fundamentals sessions listed below and the public screening of Emergent City. You can also tailor your Doc Fundamentals attendance to your personal needs and select each course a la carte for $35/session.[/vc_column_text][vc_empty_space height=”40px”][vc_separator color=”white”][vc_column_text css=””] \nAbout Emergent City \n[/vc_column_text][vc_separator color=”white”][vc_empty_space height=”40px”][vc_column_text css=””] \nOver a decade\, within the borders of a single Brooklyn community district\, a microcosm of American democracy emerges. Residents of Sunset Park face a tangled web of rising rents\, a legacy of environmental racism and the loss of the industrial jobs that once sustained their community. When a global developer purchases Industry City – a massive industrial complex on the waterfront – and begins to transform it into an “innovation district\,” a battle erupts over the future of the neighborhood and of New York City itself. \nEmergent City is an observational civic epic. It sheds light on power and process\, illuminating systems and giving viewers a front row seat to the public and private spaces where the city is shaped. With extraordinary access\, it tracks an ensemble of participants including the local council member\, Industry City’s developers and community members with divergent stakes. The film explores the profound intersections of gentrification\, climate crisis and real estate development\, and asks how change might emerge from dialogue and collective action in a world where too many outcomes are constrained by money\, politics and business as usual. \n[/vc_column_text][vc_empty_space height=”40px”][vc_separator color=”white”][vc_column_text] \nAbout Doc Fundamentals \n[/vc_column_text][vc_separator color=”white”][vc_empty_space height=”40px”][vc_column_text css=””]UnionDocs has developed this ongoing program for documentarians\, after receiving countless requests from folks who desire a better foundation for navigating the modern landscape of independent filmmaking and has received feedback that this course does the trick! Each year we select an array of guests that represent the best of the field with contemporary approaches to navigating with best practices.[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Reflections from past participants of Doc Fundamentals:” font_container=”tag:h1|text_align:center” use_theme_fonts=”yes”][vc_empty_space height=”40px”][vc_column_text] \n“Overall a great balance between breadth & depth; I feel very encouraged & equipped with the basic knowledge of how turn my projects into more serious endeavors.” \n[/vc_column_text][vc_column_text] \n“The focus of the sessions on brass tacks issues like funding\, logistics\, legal & business matters\, organizing production flow\, and how to find & work with collaborators was excellent; it’s the most helpful information that can be shared in such a relatively limited amount of time & it conveys a trust in session participants that they will find their own way through” \n[/vc_column_text][vc_column_text] \n“I really enjoyed the concept of breaking a single documentary down over several focus points. Looking forward to future courses! Thank you!” \n[/vc_column_text][/vc_column][vc_column][/vc_column][/vc_row][vc_row][vc_column][vc_separator color=”white”][vc_column_text] \nSchedule \n[/vc_column_text][vc_separator color=”white”][vc_empty_space height=”40px”][vc_row_inner][vc_column_inner][vc_custom_heading text=”Day 1: Friday\, June 5″ font_container=”tag:h1|text_align:left” use_theme_fonts=”yes” css=””][vc_separator color=”white”][vc_column_text css=””]SESSION 1: Project Conception | 60 mins\n(Opening Session – Directing\, access\, vision of the film and overall idea of the film) \nFILM SCREENING | Emergent City | 95 mins[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Day 2: Saturday\, June 6″ font_container=”tag:h1|text_align:left” use_theme_fonts=”yes” css=””][vc_separator color=”white”][vc_column_text css=””]\nSESSION 2: Research\, development\, & financing | 11am – 12:30pm \nSESSION 3: Creating a visual language (Cinematography\, Archival & Graphics) | 2pm – 3:30pm \nSESSION 4: (Access\, Working in the field) | 4pm – 5:30pm \n[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Day 3: Sunday\, June 7″ font_container=”tag:h1|text_align:left” use_theme_fonts=”yes” css=””][vc_separator color=”white”][vc_column_text css=””]SESSION 5: (Post-production: Editing\, Music & Sound) | 2pm – 3:30pm \nSESSION 6: (festival strategy\, distribution & Impact) | 4pm – 5:30pm[/vc_column_text][vc_empty_space height=”40px”][/vc_column_inner][/vc_row_inner][vc_separator color=”white”][vc_column_text] \nBios \n[/vc_column_text][vc_separator color=”white”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”162386″ img_size=”200×200″ css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Kelly Anderson is a Sunset Park based documentary filmmaker whose most recent film is Rabble Rousers: Frances Goldin and the Fight for Cooper Square (w. Ryan Joseph and Kathryn Barnier). Her 2012 film My Brooklyn\, about the hidden forces driving gentrification\, was broadcast on PBS’ America ReFramed. Kelly produced and directed Every Mother’s Son (PBS\, 2004\, w. Tami Gold)\, about mothers whose children were killed by police\, which won the Tribeca Audience Award and aired on POV. She produced and directed Out At Work (HBO\, 2000\, w. Tami Gold)\, which premiered at Sundance. Kelly chairs the Department of Film and Media Studies at Hunter College (CUNY).[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”162394″ img_size=”200×200″ css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Jay Arthur Sterrenberg is a New York City based filmmaker\, editor and co-founder of the Meerkat Media Collective whose work has screened at Sundance\, Tribeca\, IDFA\, CPH:DOX and broadcast on PBS\, HBO\, Netflix & Hulu. \nJay’s two decade documentary editing career began with collaborations with DCTV’s Jon Alpert & Matt O’Neil on the HBO documentaries Section 60: Arlington National Cemetery (2008)\, Wartorn (2010) and Oscar nominated Redemption (2012). He also edited the Oscar shortlisted films Dark Money (dir. Kimberly Reed\, 2018) and After Maria (dir. Nadia Hallgren\, 2019) and a has had a long collaboration with filmmaking duo Shaul Schwarz & Christina Clusiau – Narco Cultura (Sundance 2013)\, Emmy-winning Trophy (CNN Films\, 2017)\, Emmy-nominated FLY (Nat Geo\, 2024) and the 2020 Netflix doc series Immigration Nation\, which won a Peabody Award and Best New Documentary Series at the Independent Spirit Awards. \nAs a director\, his films find cinematic ways to explore process & democracy. A believer in collective filmmaking\, he co-directed many independent films with the Meerkat Media Collective including Stages (2010)\, Consensus: Direct Democracy at Occupy Wall Street (2011) and Brasslands (2013). His solo directorial debut was the observational short film Public Money (POV\, 2018) which paved the way for the feature-length collaboration with Kelly Anderson: Emergent City (POV\, 2025).[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”162393″ img_size=”200×200″ css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Brenda Àvila-Hanna is a filmmaker and educator born and raised in Mexico City and currently based in Central California. Her films mostly focus on transnational stories\, spaces and identities. Brenda is a recent fellow for the Sundance Documentary Producing Lab\, Points North\, BAVC’s National MediaMaker\, NALIP and DocsMX. Brenda was in the inaugural cohort of DOC NYC’s “Documentary Industry New Leaders” and was a 2021 Rockwood/Just Films Fellow. She is a producer of the ITVS supported documentary EMERGENT CITY  (Dir. Kelly Anderson & Jay \nSterrenberg)\, which premiered at the 2024 Tribeca Film Festival and aired nationally on PBS. Brenda is also a producer of the Sundance Institute supported HOW TO CLEAN A HOUSE IN TEN EASY STEPS (Dir. Carolina Gonzalez)\, currently in festivals. She is also a co-producer of American Pachuco: The Legend of Luis Valdez (Dir. David Alvarado)\, winner of the U.S. Documentary Audience Award and Festival Favorite Award at Sundance. Brenda received an M.A. in Social Documentation from UCSC\, where she teaches various storytelling courses. She is a Board Member of the Watsonville Film Festival.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”162392″ img_size=”200×200″ css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Sean Hanley is a documentary cinematographer versed in longitudinal vérité projects but with a knack for creative non-fiction and experimental techniques. His work has therefore screened across a spectrum of festivals\, from Sundance to MoMA’s Documentary Fortnight. Recent credits include Judd Ehrlich’s Jane Eliott Against the World (2026\, Sundance)\, Debra Granik’s series CONBODY vs. Everybody (2024\, Sundance)\, and Jay Arthur Sterrenberg and Kelly Anderson’s Emergent City (2024\, Tribeca). He has held a long and productive collaboration with experimental documentarian Lynne Sachs starting with Your Day is My Night (2013\, MoMA Documentary Fortnight)\, Tip of My Tongue (2015\, Closing Night of MoMA Documentary Fortnight)\, and Contractions (2024\, NYTimes OpDocs). He is a member of the Documentary Cinematographer’s Alliance and the Meerkat Media Collective.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”162391″ img_size=”200×200″ css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Betty Yu is an award-winning filmmaker\, socially engaged multimedia artist\, photographer and activist born and raised in NYC. Yu integrates documentary film\, photography\, installation\, new media platforms\, and community-infused approaches into her practice. Betty’s films and multimedia work has focused on labor\, immigration\, gentrification\, abolition\, racism\, militarism\, transgender equality among other issues. She is a co-founder of Chinatown Art Brigade\, a cultural collective using art to advance anti-displacement fights. Ms. Yu’s documentary “Resilience” about her garment worker mother fighting sweatshop conditions screened at film festivals including the Margaret Mead Film Festival. \nHer work has been exhibited and screened at the Brooklyn Museum\, Queens Museum\, NY Historical Society\, Museum of the City of NY\,  Artists Space/ISP Whitney Museum\, The Highline\, Tenement Museum\,\, 2019 BRIC Biennial\, Apexart\, Pace University Art Gallery\, Transmitter Gallery\, 601 Artspace\, Five Myles\, Squeaky Wheel Film and Media Art Center\, Bullet Space\, Carriage Trade\, Old Stone House and MAXXI in Rome. “The Garment Worker”\, an interactive installation\, was featured at Tribeca Film Institute’s Interactive Showcase. Her multimedia installation\, “Resistance in Progress”\, highlighting housing activism in Flushing was featured at the Queens Museum. Betty had her first solo exhibition\, “(Dis)Placed in Sunset Park” at Open Source Gallery. Ms. Yu won the Aronson Social Justice Award for her film “Three Tours” about U.S. veterans returning home from war in Iraq\, and their journey to overcome PTSD. Her photography and art college book\, Family Amnesia: Chinese American Resilience was released in Summer 2025. \nHer work has received coverage in outlets including New York Times\, CNN\, HBO VICE News Tonight\, i-D Vice Media\, Art Forum\, ARTNews\, Sinovision\, Hyperallergic\, E-Flux\, F-Stop Magazine\, The Eye of Photography Magazine\, La Belle Revue Art Journal & Studio International.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”162390″ img_size=”200×200″ css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Alex Mallis is a Cuban-American\, Jewish filmmaker raised in New Hampshire now living in Brooklyn\, NY. His short films have been distributed by PBS\, Criterion\, The New Yorker\, and The Atlantic. His debut feature The Travel Companion premiered at the 2025 Tribeca Film Festival and is being distributed by Oscilloscope Laboratories. His short documentary Shut Up And Paint (2022) was awarded Grand Jury Prize at IFF Boston and Big Sky Documentary Film Festival\, shortlisted for the 95th Academy Awards\, and broadcast nationally on POV. Alex received an MFA in Integrated Media Arts from Hunter College (CUNY) and is an active member of the Brooklyn Filmmakers Collective and the Meerkat Media Collective.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”162389″ img_size=”200×200″ css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Gisela Fullà-Silvestre is a Barcelona-born\, New York–based composer\, sound designer\, re-recording mixer\, and vocalist whose work spans award-winning film\, television\, and music. Her projects include Academy Award–nominated and major festival premieres (Sundance\, Tribeca\, Berlinale\, SXSW)\, as well as the Emmy Award–winning ¡Atención! Murdered Next Door\, with releases on PBS and Netflix. She also performs as NOIA\, an experimental pop project acclaimed by Pitchfork and The New York Times\, and is a 2022 NYFA Women’s Fund Fellow.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”162388″ img_size=”200×200″ css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Zara Serabian-Arthur is a documentary editor and producer\, and a co-founder of Meerkat Media\, an award-winning production company cooperative based in Brooklyn\, NY. Her work has been featured on Hulu\, PBS\, National Geographic\, The New York Times\, and The New Yorker\, premiered at Sundance\, and screened theatrically. Recent credits include Stolen Youth (Hulu\, series editor)\, Art21: Between Worlds (PBS\, editor)\, and Justice (Sundance\, editor). As an editor\, Zara is committed to telling complex stories with empathy and care\, exploring power\, resilience\, and the possibility of transformation. Across both her filmmaking and her organizing within cooperative and solidarity economy movements\, she works to shift dominant narratives toward mutualism\, economic democracy\, and more just futures.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”162496″ img_size=”200×200″ css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Robert Salyer is Director of Outreach and Impact at American Documentary\, Inc.\, leading national outreach campaigns and partnership development for award-winning films and impact initiatives. He spearheads the Our America: Documentaries in Dialogue project\, a long-running effort that empowers PBS stations and local partners to foster meaningful civic dialogue around urgent social issues. To date\, he has supported the impact campaigns of more than 70 POV films\, encompassing a wide range of issues and engaging audiences across the country. \nWith more than 25 years of experience in documentary film and community media\, Robert previously spent much of his career at Appalshop\, Inc.\, where he directed and produced films focused on Appalachian culture. His credits include work with CNBC\, HBO\, Greenpeace\, and Lost Nation Pictures\, among others.  His films have screened widely in the U.S. and internationally\, including at MoMA’s Documentary Fortnight and Festival Film Dokumenter in Yogyakarta\, Indonesia. \nRobert has been deeply involved in media education and youth training. He taught documentary filmmaking at Kentucky State University\, served as a longtime instructor with the Appalachian Media Institute\, and facilitated a U.S. State Department–funded media exchange with Indonesian filmmakers. He has worked as a community organizer with the Virginia Organizing Project and mentored emerging filmmakers through NYU Tisch’s summer immersion program.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”162387″ img_size=”200×200″ css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Sylvia Savadjian is a New York based film publicist. Work includes festival PR for Museum of the Moving Image’s First Look\, DOC NYC\, Full Frame\, staff roles at Kino Lorber\, Maysles Documentary Center and HBO in publicity\, marketing\, acquisitions and programming.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”162724″ img_size=”200×200″ css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Stephen Maing is an Emmy-award winning filmmaker\, cinematographer and editor based in New York City. His films UNION (P.O.V./Criterion Channel) and CRIME + PUNISHMENT (Hulu) both won Special Jury Awards at the Sundance Film Festival and were shortlisted for the Academy Award for Best Documentary. His most recent film THE GREAT EXPERIMENT\, is an ambitious cinematic exploration of one of the most volatile and perplexing eras of American history & identity. He has collaborated closely with whistleblowers in the NYPD\, dissident citizen reporters in China\, Amazon worker-turned-organizers in Staten Island\, journalists exposing illicit cartel-run gold mining in the Amazon rain forest and leakers in the State Department. He was story producer and an editor on the Oscar-winning short doc ALL THE EMPTY ROOMS (Netflix) and executive producer on the P.O.V. feature doc EMERGENT CITY. His films seek to expand the aesthetic form and limits of longitudinal nonfiction filmmaking. They are visual investigations of societal phenomena\, complex power structures and the fascinating individuals who challenge them. Maing has received fellowships from The Guggenheim Foundation\, United States Artists\, Sundance Institute\, NBC Original Voices\, and was recipient of the IDA’s prestigious Courage Under Fire Award.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row]
URL:https://uniondocs.org/event/documentary-fundamentals-2026-06-05/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Workshops & Labs
ATTACH;FMTTYPE=image/gif:https://uniondocs.org/wp-content/uploads/2026/04/7gif.gif
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260605T190000
DTEND;TZID=America/New_York:20260605T190000
DTSTAMP:20261115T183325
CREATED:20260402T211539Z
LAST-MODIFIED:20260529T150357Z
UID:10003049-1780686000-1780686000@uniondocs.org
SUMMARY:Emergent City
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text css=””]Doors 6:30p\nProgram 7:00p[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text css=””]UnionDocs\n352 Onderdonk Ave\nRidgewood\, NY[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”40px”][vc_separator color=”custom” accent_color=”#ffffff”][vc_empty_space height=”40px”][vc_column_text css=””]We’re delighted to present an evening of cinema and conversation with Kelly Anderson and Jay Arthur Sterrenberg’s thrilling documentary Emergent City! \n“Emergent City is not a polemic\, nor does it fall into the “all sides” trap of equivocation. It’s curious and patient\, taking the time to understand its subject. It leaves enough wiggle room for the audience to make up its own mind\, a kind of nonfiction Rorschach test to help us illuminate how we really think about everything from housing costs to climate change.” \n— Alan Zilberman\, Washington City Paper \nVerité thriller Emergent City chronicles a critical period of transformation for the Sunset Park neighborhood in waterfront Brooklyn. Over the course of several years the film presents the intersections of multiple stakeholders and divergent interest groups as the plot known as Industry City changes owners and faces redevelopment and rezoning. Local council\, community members\, small business owners and large developers go head to head in this observational civic epic. Emergent City sheds light on power and process\, illuminating systems and giving viewers a front row seat to the public and private spaces where the city is shaped. The film explores the profound intersections of gentrification\, climate crisis and real estate development\, and asks how change might emerge from dialogue and collective action in a world where too many outcomes are constrained by money\, politics and business as usual. \nThe screening will be preceded by a presentation by directors Jay and Kelly\, joined remotely by producer Brenda Àvila-Hanna\, discussing the inception of the film\, where the idea came from\, initial encounters with the film’s subject and the original vision at the outset of the project. \nNote: We’re overjoyed that this year’s Documentary Fundamentals course is led by Kelly Anderson and Jay Arthur Sterrenberg! Emergent City will serve as a case-study for DOC FUNDAMENTALS\, our annual six session professional development series\, across all the sessions including RESEARCH & FINANCING\, VISUAL LANGUAGE\, ACCESS & FIELD WORK\, POST PRODUCTION and RELEASING your documentary. Each session features a range of exciting\, advanced and award-winning professionals from the field and many from this film who represent all aspects of producing a documentary feature. It is perfect as a primer or a way to refocus and rethink your project in today’s changing landscape! You can attend all sessions with a SERIES PASS or just tackle the hurdles where you need help with a single session.[/vc_column_text][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column][vc_separator color=”custom” accent_color=”#ffffff”][vc_column_text] \nBuy a Series Pass \n[/vc_column_text][vc_separator color=”custom” accent_color=”#ffffff”]$175.00Add to cart	\n			\n [vc_column_text css=””]DOCUMENTARY FUNDAMENTALS: A professional development series designed to give the emerging or intermediate documentary filmmaker an inside look at the filmmaking process from pre-production planning to post-production and distribution. Over the past few years\, UnionDocs has developed this ongoing program for documentarians that desire a better foundation for navigating the modern landscape of independent filmmaking. This six-part program takes place over the course of one weekend at UnionDocs. Buy a SERIES PASS ($175) or choose to attend individual sessions ($35/each).[/vc_column_text][vc_empty_space height=”40px”][vc_separator color=”custom” accent_color=”#ffffff”][vc_column_text] \nInstructors \n[/vc_column_text][vc_separator color=”custom” accent_color=”#ffffff”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”162386″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Kelly Anderson is a Sunset Park based documentary filmmaker whose most recent film is Rabble Rousers: Frances Goldin and the Fight for Cooper Square (w. Ryan Joseph and Kathryn Barnier). Her 2012 film My Brooklyn\, about the hidden forces driving gentrification\, was broadcast on PBS’ America ReFramed. Kelly produced and directed Every Mother’s Son (PBS\, 2004\, w. Tami Gold)\, about mothers whose children were killed by police\, which won the Tribeca Audience Award and aired on POV. She produced and directed Out At Work (HBO\, 2000\, w. Tami Gold)\, which premiered at Sundance. Kelly chairs the Department of Film and Media Studies at Hunter College (CUNY)[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”162394″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Jay Arthur Sterrenberg is a New York City based filmmaker\, editor and co-founder of the Meerkat Media Collective whose work has screened at Sundance\, Tribeca\, IDFA\, CPH:DOX and broadcast on PBS\, HBO\, Netflix & Hulu. \nJay’s two decade documentary editing career began with collaborations with DCTV’s Jon Alpert & Matt O’Neil on the HBO documentaries Section 60: Arlington National Cemetery (2008)\, Wartorn (2010) and Oscar nominated Redemption (2012). He also edited the Oscar shortlisted films Dark Money (dir. Kimberly Reed\, 2018) and After Maria (dir. Nadia Hallgren\, 2019) and a has had a long collaboration with filmmaking duo Shaul Schwarz & Christina Clusiau – Narco Cultura (Sundance 2013)\, Emmy-winning Trophy (CNN Films\, 2017)\, Emmy-nominated FLY (Nat Geo\, 2024) and the 2020 Netflix doc series Immigration Nation\, which won a Peabody Award and Best New Documentary Series at the Independent Spirit Awards. \nAs a director\, his films find cinematic ways to explore process & democracy. A believer in collective filmmaking\, he co-directed many independent films with the Meerkat Media Collective including Stages (2010)\, Consensus: Direct Democracy at Occupy Wall Street (2011) and Brasslands (2013). His solo directorial debut was the observational short film Public Money (POV\, 2018) which paved the way for the feature-length collaboration with Kelly Anderson: Emergent City (POV\, 2025).[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”162393″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Brenda Àvila-Hanna is a filmmaker and educator born and raised in Mexico City and currently based in Central California. Her films mostly focus on transnational stories\, spaces and identities. Brenda is a recent fellow for the Sundance Documentary Producing Lab\, Points North\, BAVC’s National MediaMaker\, NALIP and DocsMX. Brenda was in the inaugural cohort of DOC NYC’s “Documentary Industry New Leaders” and was a 2021 Rockwood/Just Films Fellow. She is a producer of the ITVS supported documentary EMERGENT CITY  (Dir. Kelly Anderson & Jay \nSterrenberg)\, which premiered at the 2024 Tribeca Film Festival and aired nationally on PBS. Brenda is also a producer of the Sundance Institute supported HOW TO CLEAN A HOUSE IN TEN EASY STEPS (Dir. Carolina Gonzalez)\, currently in festivals. She is also a co-producer of American Pachuco: The Legend of Luis Valdez (Dir. David Alvarado)\, winner of the U.S. Documentary Audience Award and Festival Favorite Award at Sundance. Brenda received an M.A. in Social Documentation from UCSC\, where she teaches various storytelling courses. She is a Board Member of the Watsonville Film Festival.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row]
URL:https://uniondocs.org/event/documentary-fundamentals-how-it-started-2026-06-05/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/gif:https://uniondocs.org/wp-content/uploads/2026/04/6gif.gif
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260528T190000
DTEND;TZID=America/New_York:20260528T223000
DTSTAMP:20261115T183325
CREATED:20260331T205012Z
LAST-MODIFIED:20260526T141257Z
UID:10003062-1779994800-1780007400@uniondocs.org
SUMMARY:The Terror and the Time:  A Flaherty on the Road Screening
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text css=””]Doors 6:30p\nProgram 7:00p\nTickets $12[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text]UnionDocs\n352 Onderdonk Ave\nRidgewood\, NY[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_video link=”https://vimeo.com/851422192″][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””]In the mid-1970s\, a group of students and professors at Cornell University united by an urgency to make revolutionary art formed the Victor Jara Collective\, named after the Chilean musician assassinated during the Pinochet regime. In 1976\, they traveled to Guyana to\, as Victor Jara Collective member Lewanne Jones put it\, “make film\, forge cultural alliances\, and activate revolution.” What they brought back is The Terror and the Time\, a landmark of anticolonial cinema. \nThe Flaherty and UnionDocs are thrilled to present a special screening of a newly restored version of The Terror and the Time\, followed by a conversation with Lewanne Jones of the Victor Jara Collective and Bill Brand of BB Optics\, who has been leading the restoration of the Collective’s work. The discussion will be moderated by documentary filmmaker Pam Yates and introduced by Janaína Oliveira. \nThis screening emerges from Oferenda\, a special film program curated by Christopher Harris and Janaina Oliveira for Onward! – the 70th Flaherty Film Seminar. Presented as an offering\, the program was rooted in what Janaina describes as “a profoundly Black feeling and practice\,” one that draws on Afro-diasporic epistemologies as curatorial tools and thinks from the crossroads\, where narrative arguments and disagreements coexist\, preferring “and” instead of “or.”[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nProgram \n[/vc_column_text][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \n\nThe Terror and the Time by Victor Jara Collective\n\n[/vc_column_text][vc_column_text css=””]USA/Guyana\, 1979\, 70min [/vc_column_text][vc_column_text css=””]The terror is British colonialism in Guyana; the time is 1953\, the year of the first elections under a provisional democratic constitution. Stylized scenes photographed throughout Georgetown accompany the poetry of Martin Carter to convey a sense of intense political reform against poverty\, repression and silence. The film unfolds against the international backdrop of the 50s: the growth of foreign economic and military interests in the Caribbean basin\, the coronation of Queen Elizabeth\, the Mau Mau revolts in Kenya\, the Cold War\, and the U.S.’ covert wars against Cuba\, Malaysia\, Vietnam\, Iran and Nigeria. In his forward to Poems of Resistance by his comrade and compatriot Martin Carter\, the great Guyanese writer Eusi Kwayana\, implies that poetry is criticism. This sense of criticism held and released in and before art animates The Terror and the Time. The film offers poetic practice\, historical criticism\, and critical historiography in a rehearsal of sound\, image\, ground\, and aspiration… Rupert Roopnaraine\, a key figure in the Victor Jara Collective\, suggested that the product betrays the process so that the film’s unfinishedness is given in accord with anticolonial struggle. As he argues\, what is important is that the struggle remains. And what remains is the unstill consistency of the cartman and the dark\, glimpsed by and given in criticism\, through the absolute dissolution of the poem and the poet\, the filmmaker and the film.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”40px”][vc_single_image image=”147742″ img_size=”full”][vc_column_text] \nWatch the conversation between Presenter1\, Presenter2 and Presenter 3 on the UnionDocs’ Membership hub. \n[/vc_column_text][vc_btn title=”Watch” style=”outline-custom” outline_custom_color=”#ffffff” outline_custom_hover_background=”#adadcc” outline_custom_hover_text=”#0000cd” shape=”round” align=”center” css_animation=”bounceIn”][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nBios \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”163125″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Guyana’s Victor Jara Collective may have  produced just two films\, yet as an example of  a politically committed and formally radical  approach to documentary filmmaking\, their  intervention remains unique in the relatively  short history of indigenous Caribbean cinema  production. Named in honour of the Chilean  musician and dissident Victor Jara\, the  collective was influenced by the New Latin  American and Third Cinema movements as  well as the theories of Soviet montage and  the European avant-garde. The collective— born out of a Marxist study group at Cornell University—aimed to create work that explored  Guyana’s own political\, social and economic  struggles as a newly postcolonial nation.  \nVictor Jara Collective member Lewanne Jones will be present for the event. [/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”163127″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Lewanne Jones is an audio-visual researcher and Archival Producer in New York City.  She began her work in archives in the late 1970s as a member of the Victor Jara Collective that produced a ground-breaking documentary about colonialism in British Guiana\, The Terror and The Time. Since then\, she has conducted international research for films and television series\, museum installations and online educational productions. Her work has been recognized by two nominations for News & Documentary Emmy awards (in the archival research category)\, most recently in 2022 and she received an Acker Award for community archival contributions in New York City. Eyes on the Prize\, ABC’s Century\, PBS’s Freedom Riders and Black Panther: Vanguard of the Revolution\, 32 Sounds and Borderland are among the award-winning projects to which she has contributed. She has conducted workshops on archival theory and practice at media research centers including at Union Docs and BRIC TV (Brooklyn\,) the Better Angels Foundation (Washington DC) and the Global Media Research Center (Illinois)\, and has mentored emerging filmmakers in the craft of using archival materials. Since 2018\, she has been presenting the work of the Victor Jara Collective at festivals in the US\, Great Britain\, Belgium and Chile and is the project manager for the preservation and restoration of its two films\, The Terror and The Time (1978) and In The Sky’s Wild Noise (1983).  [/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”163158″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Bill Brand is a multi-disciplinary artist whose films\, public artwork\, installations\, paintings and works-on-paper have exhibited worldwide in museums\, galleries\, film festivals\, microcinemas and on television. His 1980 Masstransiscope is an animated mural permanently installed in the New York City subway as part of the permanent collection of the MTA Arts & Design. Bill Brand’s artwork has been featured at Museum of Modern Art\, Whitney Museum\, Smithsonian American Art Museum\, National Gallery of Art\, Anthology Film Archive and Shanghai Duolun Museum of Modern Art. His films have been presented at major film festivals including the Berlin Film Festival\, New Directors/ New Films Festival\, Tribeca Film Festival\, Rotterdam Film Festival\, Light Field Festival\, (S8) Mostra de Cinema Periférico\, Prismatic Ground Film Festival and the Flaherty Film Seminar.  He is represented by Galerie Arnaud Lefebvre\, Paris and Court Tree Collective\, Brooklyn.   Invisible Fisherman: The Art of Bill Brand was published by Eyewash Books and Visual Studies Workshop and released in April 2026.Bill Brand teaches film preservation at New York University’s Moving Image Archiving and Preservation graduate program and is Professor Emeritus at Hampshire College.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”163185″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Pamela Yates is an award-winning film director and the co-founder of Skylight\, a not-for-profit media organization that for over 40 years has combined cinematic arts with the quest for justice to inspire the defense of human rights. Skylight’s films and programs strengthen social justice movements and catalyze collaborative networks of artists and activists. She is the Director of the Sundance Special Jury award winning When the Mountains Tremble; the Executive Producer of the Academy Award winning Witness to War; and the Director of State of Fear: The Truth About Terrorism\, which has been translated into 47 languages and broadcast in 154 countries. It was awarded the Overseas Press Award for Best Reporting in Any Medium about Latin America. Her film Granito: How to Nail a Dictator\, for which she awarded a Guggenheim fellowship\, was used as key forensic evidence in the genocide trial against Efraín Ríos Montt in Guatemala. Her third film in the Guatemalan trilogy\, 500 YEARS had its world premiere at the Sundance Film Festival\, was broadcast on POV/PBS\, streamed as part of Amazon Prime Festival Stars and is currently in wide release.  Her feature length documentary BORDERLAND | The Line Within\, about the war against immigrants in the U.S.\, is currently touring in  cinemas across the country and in Latin American\, as well as streaming. For her work on BORDERLAND\, Pamela received the Poynter Fellowship in Journalism from Yale University.  She was awarded the inaugural Art of Activism Award\, along with Paco de Onís\, by the Woodstock Film Festival in 2024.  Pamela is a member of the Academy of Motion Pictures Arts and Sciences\, Writers Guild of America\, and the International Documentary Association and is on the Advisory Board of the Woodstock Film Festival.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nFrom the Event \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][vc_media_grid style=”pagination” items_per_page=”1″ element_width=”12″ arrows_design=”vc_arrow-icon-arrow_01_left” arrows_position=”outside” arrows_color=”white” loop=”yes” item=”136647″ grid_id=”vc_gid:1779284789076-862f17c7-c2f0-10″ include=”147747\,147746\,147745″][vc_empty_space height=”30px”][/vc_column][/vc_row]
URL:https://uniondocs.org/event/oferenda-a-reverberation-from-the-70th-flaherty-film-seminar-2026-05-28/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/gif:https://uniondocs.org/wp-content/uploads/2026/04/giphy.gif
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260510T193000
DTEND;TZID=America/New_York:20260510T193000
DTSTAMP:20261115T183325
CREATED:20260402T210015Z
LAST-MODIFIED:20260428T103935Z
UID:10003059-1778441400-1778441400@uniondocs.org
SUMMARY:Alchemy in the Archive
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text css=””]Doors 7:00p\nProgram 7:30p\nTickets $12[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text]UnionDocs\n352 Onderdonk Ave\nRidgewood\, NY[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_video link=”https://vimeo.com/851422192″][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””]We’re thrilled to welcome Anthony Banua-Simon to UnionDocs for an evening of cinema and conversation! We’ll begin with a screening of Banua-Simon’s recent found footage short WORLD ENTERPRISES and continues with an in-progress presentation of his feature The Pink Palace\, a project that expands from the themes introduced in the short. Through preliminary documentary footage\, archival video\, photos\, and research\, Banua-Simon will narrate the project to be produced in the coming year. \nThe Pink Palace is a documentary / fiction hybrid built from both historical archive and scripted scenes produced within unsanctioned and occasionally improvised contemporary settings. The film takes place at the Royal Hawaiian Hotel in Waikiki on Oʻahu. In a narrative alternating between 1939 and the current day\, the film follows the “Golden Man” (in mocking reverence to author James A. Michener)\, a mysterious public relations agent employed by shipping company and hotel owner\, Matson\, and tasked with creating and maintaining an ever-evolving construct of Hawaiʻi that caters to tourism and a growing U.S. military empire. The film links historical figures such as Georgia O‘Keeffe\, General Douglas MacArthur\, Hawaiian activist Sammy Amalu\, and Filipino actress Isabel Rosario Cooper in an absurdist plot among the real-life current day backdrop of hotel union strikes and the RIMPAC military exercises. \nThe Pink Palace is an extension of themes and histories examined in Banua-Simon’s documentaries Cane Fire\, The Experiment Station\, WORLD ENTERPRISES\, as well as his ongoing video essay series based on the book by Delia Caparoso Konzett\, Hollywood’s Hawaii: Race\, Nation and War. These projects are critical analyses that dissect existing materials and utilize oral histories and The Pink Palace will be extending this knowledge into the speculative realm\, resulting in an original work that can act as an exponent to further inquiry. \nCome through![/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nProgram \n[/vc_column_text][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nThe Pink Palace\n[/vc_column_text][vc_column_text css=””]In-progress feature length\, 45 min presentation[/vc_column_text][vc_column_text css=””]The Hawaiʻi of 1939 and today converge into a transhistorical blend of fiction and documentary film as a mysterious public relations agent residing in the Royal Hawaiian Hotel is tasked with maintaining the island’s unraveling image.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nWORLD ENTERPRISES\n[/vc_column_text][vc_column_text css=””]14 mins\, 2026[/vc_column_text][vc_column_text css=””]In 1940\, on the dry westside of the Hawaiian island of Kauaʻi\, the Kekaha Sugar Company began a six-month mail-order film subscription with World Enterprises\, a distributor sponsored by the charitable trust and foundation of Castle & Cooke\, one of the “Big Five” sugar companies. Varied in style\, the films shared a common theme: American power taming lands and peoples of the “frontier” through extraction\, an encroachment justified by declared ideals of progress.  WORLD ENTERPRISES is a collage of radical possibilities sourced entirely from the original program screened for workers on their Sundays off from harvesting and processing sugarcane.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nProgram Duration: 60 mins \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”40px”][vc_single_image image=”147742″ img_size=”full”][vc_column_text] \nWatch the conversation between Presenter1\, Presenter2 and Presenter 3 on the UnionDocs’ Membership hub. \n[/vc_column_text][vc_btn title=”Watch” style=”outline-custom” outline_custom_color=”#ffffff” outline_custom_hover_background=”#adadcc” outline_custom_hover_text=”#0000cd” shape=”round” align=”center” css_animation=”bounceIn”][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nBios \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”162794″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Anthony Banua-Simon is an award-winning documentary filmmaker and editor who’s a 2024 NYSCA/NYFA Artist Fellow in Video/Film. He was also named one of Filmmaker Magazine’s 2021 “25 New Faces of Independent Film” and DOC NYC’s 2022 “40 Under 40”. His debut feature documentary\, Cane Fire\, was an official selection of the 2020 Hot Docs International Film Festival as well as the 2021 MoMA Doc Fortnight and won “Best Documentary Feature” at the 2020 Indie Memphis Film Festival and the 2021 Los Angeles Asian Pacific Film Festival. Cane Fire is distributed theatrically by Cinema Guild and was available to stream on The Criterion Channel. The film has received praise in RogerEbert.com\, The Wrap\, Jacobin\, Film Threat\, and Hyperallergic among several other outlets. \nHis short documentary about two former workers of the Domino Sugar Refinery\, Third Shift\, won “Best Short Documentary” at the 2014 Brooklyn Film Festival and was previously streaming on The Criterion Channel. He’s featured in The New York Times\, BOMB Magazine\, Screen Slate\, Pioneer Works Broadcast\, and HuffPost. \nAnthony attended The Evergreen State College and was a fellow at the UnionDocs Collaborative Studio Program. He taught film editing at The State University of New York at Purchase and was a member of the volunteer-run Spectacle Theater in Brooklyn\, NY. His current documentary project\, The Experiment Station\, has received support from both NYSCA and the Jerome Foundation. Occasionally\, he’s asked to list his favorite films (The Criterion Collection Top 10\, Grasshopper Film 10/10).[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nFrom the Event \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][vc_media_grid style=”pagination” items_per_page=”1″ element_width=”12″ arrows_design=”vc_arrow-icon-arrow_01_left” arrows_position=”outside” arrows_color=”white” loop=”yes” item=”136647″ grid_id=”vc_gid:1777305610307-e3aed900-5675-8″ include=”147747\,147746\,147745″][vc_empty_space height=”30px”][/vc_column][/vc_row]
URL:https://uniondocs.org/event/alchemy-in-the-archive-2026-05-10/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/gif:https://uniondocs.org/wp-content/uploads/2026/04/gdif.gif
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260508T193000
DTEND;TZID=America/New_York:20260508T193000
DTSTAMP:20261115T183325
CREATED:20260402T051400Z
LAST-MODIFIED:20260509T191824Z
UID:10003058-1778268600-1778268600@uniondocs.org
SUMMARY:We're Sick to Death of All This Nonsense: Saffron Time
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text css=””]Doors 7pm\nProgram 7:30p\nTickets $15[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text]UnionDocs\n352 Onderdonk Ave\nRidgewood\, NY[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_video link=”https://vimeo.com/851422192″][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””]Welcome to another round of our multimedia series combining live performance\, reading\, sound and image selected by poet Christine Larusso & writer and curator Rachael Rakes: We’re Sick to Death of All This Nonsense. It’s not ekphrasis. WS2DOATN is a live series merging words\, sounds\, and moving images\, intended to reframe—or unframe—what constitutes the poetic\, the time-based\, the time-less\, the urgent and endurant in art and discourse. \nIn May\, well be thinking about: Saffron Time. \nThe autumns of weeping and fasting and winters of weeping and praying fold time into season-smeared forget-mes. The erstwhile early crocuses blooming before they will have a chance to live\, the chrysanthemum perennial. Our eyes water while gorging on turmoil or being subjected to turmoil\, or surviving or “surviving.” Trying to know how to continue\, to land on land. Together. \nFine. \nPlanting bouquets of images\, lines\, hearts\, and mourning and vengeance\, this season’s WSTD brings together presentations from a few of those who mention flowers anyway\, whose tears don’t dry. Including readings and presentations by Jhani Randhawa\, Sampson Starkweather\, and your hosts CL&RR\, and a screening of THE GARDEN AMIDST THE FLAME by Natasha Tontey.\n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nProgram \n[/vc_column_text][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nOpening from hosts Rachael Rakes & Christine Larusso\n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nReading from Jhani Randhawa\n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nThe Garden Amidst the Flame by Natasha Tontey\n[/vc_column_text][vc_column_text css=””]27’42”\, 2022\, Colour\, 16:9 format\, Audio format stereo in Tontemboan\, English\, and Melayu Minahasa with English and Indonesian subtitle burnt.[/vc_column_text][vc_column_text css=””]Garden Amidst the Flame continues Tontey’s ongoing research into the ancient knowledge\, technologies and cosmology of the Minahasa\, an Indigenous nation in the North Sulawesi province of Indonesia. In this most recent work\, Tontey emphasises core Minahasan cultural beliefs in the all-encompassing equilibrium between the human and non-human. Drawing on her experience of the Karai ceremony\, which grants Minahasan warriors an armour of invincibility\, the artist seeks to establish a queering approach towards gender\, youth and ecology.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nReading from Sampson Starkweather\n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_column_text css=””] \nNgüru Ka Williñ (The Fox And The Otter) by Seba Calfuqueo\n[/vc_column_text][vc_column_text css=””]4 min\, 2022[/vc_column_text][vc_column_text css=””]The early 20th century fable “The Fox and the Otter\,” from the Historia y Conocimiento Oral Mapuche: Sobrevivientes de la campaña del desierto y ocupación de la Araucanía (1899–1926)\, tells the story of a homoerotic relationship between two animals – a fox and an otter\, both males – where anal penetration is seen as an offense to masculinity. This 3D animated video proposes a new version of the fable\, where its protagonist is a transgender vixen who\, by means of its charms\, achieves to attract the otter\, unsettling colonial constructions about desire and heterosexuality and allowing to break these paradigms and create new cosmologies.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_single_image image=”147742″ img_size=”full”][vc_column_text] \nWatch the conversation between Presenter1\, Presenter2 and Presenter 3 on the UnionDocs’ Membership hub. \n[/vc_column_text][vc_btn title=”Watch” style=”outline-custom” outline_custom_color=”#ffffff” outline_custom_hover_background=”#adadcc” outline_custom_hover_text=”#0000cd” shape=”round” align=”center” css_animation=”bounceIn”][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nBios \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”162776″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Jhani Randhawa is an artist and independent scholar whose work interweaves experimental poetics and prose with video\, performance\, and archival photography in a study of cyborgian/monstrous dreamscapes and the entangled expressions of memory\, embodiment\, and agriculture as they bind the colonial to the contemporary postcolonial moment. Jhani’s debut collection Time Regime (New York: Gaudy Boy\, 2022) won the California Book Award for Poetry in 2023. Their hybrid writing has most recently appeared in Gulf Coast\, Little Mirror\, diode\, and the anthology A Mouth Holds Many Things: A De-Canon Hybrit-Literary Collection (Fonograf Editions\, 2024). Examples of Jhani’s collaborative social practice can be found in May We Gather: A National Buddhist Memorial Ceremony for Asian American Ancestors and Sutra and Bible\, an exhibition and anthology project coordinated between the Shinso Ito Center of Japanese Religions & Culture\, The Japanese American National Museum\, and Kaya Press. Jhani’s research\, writing\, and visual poetics have been recognized by UNESCO\, PEN America\, the museum of the Czong Institute of Contemporary Art (Gyeonggi-do\, SK)\, the Richard Bonney Literary Fund (Leicester\, UK)\, and fully funded residencies from Montalvo Arts\, Millay Arts\, and the Wormfarm Institute. [/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”162777″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Sampson Starkweather is a poet and does other stuff for money to pay rent and survive. He is the author of HONEY IN THE TAPE DECK: New & Uncollected Poems\, Slip on the Ski Mask of Night\, PAIN: The Board Game\, The First Four Books of Sampson Starkweather and over a dozen chapbooks from dangerous and/or defunct underground small presses. He is a founding editor of the anti-capitalist independent editor-run poetry press Birds\, LLC.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”162778″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Natasha Tontey (b\, 1989) is Minahasan artist based between Yogyakarta and Jakarta. Her artistic practice predominantly explores the fictional accounts of the history and myths surrounding ‘manufactured fear.’ In her practice\, she observes any possibilities of other futures that are projected not from the perspective of major and established institutions\, but a subtle and personal struggle of the outcasted entities and beings.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”161175″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Christine Larusso holds a BA from Fordham University (Lincoln Center) and an MFA in Creative Writing from New York University. Her poetry has appeared or is forthcoming in Bomb Magazine\, Volume\, the Colorado Review\, Wildness\, the Los Angeles Times\, the Literary Review\, Pleiades\, Court Green\, Narrative\, and elsewhere. She was a Producer for Rachel Zucker’s podcast\, Commonplace\, and was a co-founder of the Commonplace School. She lives in Los Angeles most of the time.\n \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”152994″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Rachael Rakes is a writer\, curator\, educator\, and researcher. She was recently the Artistic Director of the 12th Seoul Mediacity Biennale\, 2023. Currently Rakes is a Committee Member of the New York Film Festival\, an Editor at Large for Verso Books\, and a Contributing Editor for INFRASONICA.With Laura Huertas Millán and Onyeka Igwe\, she organizes the artistic research initiative on co-subjective encounters\, Counter-Encounters. From 2019–2022 she was the Curator for Public Practice at BAK basis voor actuele kunst\, Utrecht. Until 2019\, she was the Head Curator and Manager of the Curatorial Programme at De Appel in Amsterdam. Rakes teaches in the Artificial Times Masters department at Sandberg\, on Curating the moving image at Leiden University\, and taught recently for the Parsons School of Art\, Zine Eskola\, HKU\, KASK\, Eugene Lang College\, and Harvard University. Rakes is editor of the publications This\, Too\, Is a Map (2023\, Sema/[NAME])\, Toward the Not-Yet (2021\, BAK/MIT Press)\, and Practice Space (2019\, [NAME]/De Appel) and frequently publishes as a critic and essayist.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nFrom the Event \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][vc_media_grid style=”pagination” items_per_page=”1″ element_width=”12″ arrows_design=”vc_arrow-icon-arrow_01_left” arrows_position=”outside” arrows_color=”white” loop=”yes” item=”136647″ grid_id=”vc_gid:1778354275678-ae8c26ed-ac58-10″ include=”147747\,147746\,147745″][vc_empty_space height=”30px”][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nFrom the Event \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][vc_media_grid style=”pagination” items_per_page=”1″ element_width=”12″ arrows_design=”vc_arrow-icon-arrow_01_left” arrows_position=”outside” arrows_color=”white” loop=”yes” item=”136647″ grid_id=”vc_gid:1778354275678-8b229284-49f8-8″ include=”147747\,147746\,147745″][vc_empty_space height=”30px”][/vc_column][/vc_row]
URL:https://uniondocs.org/event/were-sick-to-death-of-all-this-nonsense-saffron-time-2026-05-08/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/gif:https://uniondocs.org/wp-content/uploads/2026/04/WSTDOATNgif.gif
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
END:VCALENDAR