The best documentaries of all time

Unlike by-the-numbers Amy Winehouse biopic Back to Black, which smoothed out many of the messy complexities of the singer's life (and tragic death), Asif Kapadia's empathetic, ​c​andid and unflinching documentary​ lays it all bare in heartbreaking style. Using only archive footage and the testimony of Winehouse's closest friends, from childhood and her professional life, Amy takes you into record studios, smoky Camden pubs and crammed jazz clubs to share the untold side of a unique musical figure. It feels like a more clear-eyed and objective portrayal than any biopic could ever be.

New York artist Garrett Bradley became the first Black woman to win Sundance’s directing award for this incarceration documentary about a man, Robert Richardson, sentenced to 60 years – sixty – in prison for a botched bank robbery. If Ava DuVernay's similarly themed doc 13th is a furious examination of America's prison-industrial complex, Bradley's film is a hymn to the hope and steadfastness it takes to survive it.

In 2017, 12 young Thai footballers and their coach were trapped when flash flooding submerged the cave network they'd been exploring. What happened next is captured in this remarkable, rollercoaster piece of stand-up-and-cheer storytelling. It plays like a heist movie, with a crack team of cave divers assembled to pull off the impossible job – and with the clock ticking. 

Dick Johnson is not actually dead at the start of Dick Johnson Is Dead, but he is suffering from dementia. To come to terms with her father’s mortality, his filmmaker daughter, Kirsten, kills him off a few dozen times – by throwing him down stairs, stabbing him in the neck, and driving his car into a truck – with the elder Johnson gleefully playing along. It’s grief counselling meets Final Destination, a mix of sadness and black humour that congeals into something uniquely poignant.

Jiro Ono is the proprietor of one of Japan’s most exclusive restaurants: a ten-seat, reservation-only sushi bar located in a Tokyo subway station. David Gelb’s profile piece is short and simple but also exceedingly warm, and not without pathos: one day, Ono’s children will take over for him, and both seem to know, without quite saying it, that they’ll never live up to his impossible standards. 

A documentary in the most direct sense, this soul-shaking piece of activist filmmaking serves as an immediate prologue to the current conflict in Gaza, capturing one West Bank village’s fight against forced displacement by the Israeli military in the months before Oct. 7, 2023. Made up of on-the-ground footage, it’s an immediate, visceral look at the daily struggle faced by many Palestinians. Shamefully, no US distributor would touch the film, even after winning an Oscar, which only serves to highlight the courage it took to make it in the first place.

‘Directed by Banksy’ is the first red flag indicating that this supposed ‘documentary’ isn’t on the up-and-up. Doesn’t the movie’s story, about a fly-by-night artist Banksy mentors into a baffling overnight success, fit his themes of fame, hype and the commodification of art a little too well? It doesn’t totally matter, though: taken at face value, Exit Through the Gift Shop is oddly compelling. And if it’s all bullshit? Honestly, that might make it even better.

The story of Sixto Rodriguez’s unlikely second act is remarkable. In the ’70s, the artist known simply as Rodriguez put out two albums of Dylanish folk that went nowhere in the States, yet found a huge audience in South Africa as the soundtrack for the anti-apartheid movement. He had no idea it was happening, nor did anyone know what happened to him. Searching for Sugar Man documents two fans’ search for the truth. Rock docs are never more life-affirming.

America braced itself for Michael Moore's rage—during a presidential election year, no less. But no one expected the emotional gut punch of interviewee Lila Lipscomb, a patriotic army mother turned disbeliever. Moore's defiant success (it's still the highest-grossing doc of all time) had a massive impact, if not quite the intended result.

Released during a year when we lost Shoah’s Claude Lanzmann, his core principal—the need to confront the evils of the past with an ever-vigilant present—was taken up by radical documentarian Robert Greene (Kate Plays Christine), who chronicled an Arizona town reckoning with its century-old racism. His timely results were unforgettable, showing the way forward.

The world is rife with famous rivalries, but only one is rooted in the shockingly duplicitous world of competitive Donkey Kong. Seth Gordon’s riotous doc might sound like a leering geek show exploring the world of adult arcade obsessives. But in mild-mannered teacher Steve Wiebe’s quest to have his all-time-high DK score recognised, Gordon finds a legitimately compelling underdog tale – and a big bad for the ages in reigning champ Billy Mitchell. 

The voice of James Baldwin has never not been relevant, but it felt especially important to hear at the dawn of the Trump era, nearly 30 years after his death. Expanding on an unfinished manuscript Baldwin was working on at the time of his passing, and using Samuel L Jackson as a narrator, director Raoul Peck weaves an astounding tone poem out of the writer’s words, drilling into the heart of American racism then and now. 

Unless you were there, it’s hard to convey how the 1995 murder trial of American football legend OJ Simpson gripped the country. This seven-hour docuseries – initially given a limited theatrical run before airing in five parts on ESPN, allowing it to win the Oscar in 2017 – captures the man, the moment and what it all meant, in equally gripping fashion. And even if you were there, the stuff that happened after his acquittal, once the media circus dispersed, will leave you gobsmacked.

A musical group confident enough to refer to itself simply as The Band was never going out with a standard concert movie. Superfan Martin Scorsese, with an assist from god-level cinematographers Michael Chapman, László Kovács and Vilmos Zsigmond, captures not just the final performance from the mostly Canadian roots-rock ensemble but the end of an era for pre-punk rock ’n’ roll in general. Held on Thanksgiving at San Francisco’s Winterland Ballroom in 1975, the group’s farewell show also functions as an alternately raucous, bitter and beautiful family reunion, with everyone from Bob Dylan to Muddy Waters to Joni Mitchell showing up to pay their respects. 

A politician using facts instead of fabrications—imagine that! Former Vice President Al Gore (working with director Davis Guggenheim) lays out the causes, effects and potential solutions to global warming in an entertainingly persuasive doc that made PowerPoint presentations exciting and spoke strongly to environmentalists.

How much trash can one man talk? Leon Gast’s doc is ostensibly a look-back at the famed ‘Rumble in the Jungle’ boxing match, but what it’s really about is the still-unparalleled force of personality that was Muhammad Ali. Through the lens of his fight with George Foreman in Kinshasa, Zaire, in 1974, Gant makes a nigh-indisputable argument for Ali as the athlete of the 20th century — though Ali has no trouble making the case himself. ‘I have wrestled with an alligator! I done tussled with a whale!’ he boasts at one point. ‘I done handcuffed lightning, thrown thunder in jail!’ Beat that, Michael Jordan.

A towering, decade-spanning political chronicle summing up nothing less than an international spirit of change, Chris Marker's epic journey takes on Che and Fidel, Vietnam and Chile, Parisian riots and California flower children. The result, beautifully resigned, is a difficult but essential work.

Joshua Oppenheimer's 2012 documentary The Act of Killing was a radical, disquieting thing: a bizarre forum for Indonesia's genocidal leaders (still feared 50 years after their anti-Communist purge) to recreate their murders as fantasy skits. This unforgettable follow-up, anchored by the presence of an emboldened optician haunted by his brother’s death, is even more staggering.

Reality is always shaped by the documentarian—even the most respectful one makes a choice with every shot. Here, then, is cinema's grandest piece of propaganda, to remind us not only of the terror of fascism but of the power of the image. Leni Riefenstahl would never escape the legacy of her Nuremberg rally.

Music is full of great artistic rivalries, but in terms of sheer entertainment value, none of them can touch The Dandy Warhols and The Brian Jonestown Massacre. Director Ondi Timoner spent seven years tracking the divergent careers of the two then-little-known psych-rock compatriots. There are onstage fistfights, drugs, arrests, broken sitars and dialogue that would've been cut from This Is Spinal Tap for being too ridiculous. It’s a masterclass in rock’n’roll insanity. 

A documentarian has a few options for tackling America's OxyContin crisis and the story of its first family, the Sacklers. Citizenfour director Laura Poitras picks the least obvious, but most impactful option, adopting legendary New York photographer Nan Goldin as a symbol of resistance to the Sackler's reputation-washing patronage of the arts. It's two enthralling stories for the price of one: a venal, vastly culpable family and the guerilla activist who takes the fight to them. 

Patricio Guzmn's three-part doc offers a comprehensive, 360-degree view of Augusto Pinochet's rise to power, as seen through the eyes of everybody from Marxist peasants to the military brass who staged the coup. The combination of big-picture history lessons and newsreel immediacy continues to inspire lefty documentarians and frontline filmmakers.

The first major rock festival of the '60s gave birth to the first major concert film of the era, with D.A Pennebaker paying as much attention to a burgeoning sense of a counterculture as he does to the music itself (though the footage of the Who, Otis Redding and Jimi Hendrix setting his guitar on fire, to name three, is epochal). Something was indeed brewing; Pennebaker lets us see the pot being stirred.

Errol Morris loves giving kooks a forum, but with this collection of "lessons," the filmmaker ceded the spotlight to a much more divisive American figure: former Secretary of Defense Robert McNamara, the architect of the Vietnam War. What he doesn't say about his part in history is almost as telling as what he does.

Emile de Antonio tears into political fearmonger Senator Joseph McCarthy with righteous rage and footage of the infamous Army-McCarthy hearings. "Have you no sense of decency, sir?" lawyer Joseph Welch asked during the trials, and De Antonio's political epitaph provides the answer: Not a shred.

Using animation to navigate the mental fog of war, Ari Folman’s groundbreaking film about searching for suppressed memories of his time as a teenage soldier in Lebanon gave documentarians a workaround for exploring subjects where archival footage and dramatic recreations won’t suffice. It’s already proven influential: 2021’s Flee took a similar approach to the refugee experience and was nominated in three Oscar categories. 

Ain’t no half-stepping with Werner Herzog: when the guy wanted to make a movie about a madman hauling a steamship over a mountain in the Amazon, he went into the jungle and did that shit for real. Les Blank’s companion doc to 1982’s Fitzcarraldo shows how the film’s depiction of lunatic ambition mirrored the production itself – and how close Herzog and star Klaus Kinski came to killing each other.

Highway traffic swirls in time-lapse photography, the sun rises and sets, and swarms of people cruise up escalators like hot dogs on a conveyer belt. Viewers still debate whether Godfrey Reggio's "pure film" amounts to more than a fuzzy anti-industrial screed. But the shots—and Philip Glass's seismically important score—are hypnotic.

Ross McElwee wanted to make a feature retracing the destructive Civil War march of General William Tecumseh Sherman. But a traumatic breakup refocused things: He'd still follow the path, but would look for romantic attachment along the way. This strikingly perceptive doc is so intimate, it hurts.

Simple hook: Fourteen British schoolchildren would be interviewed every seven years, well into adulthood. Nine installments later, the late Michael Apted's frequently heartbreaking series still provides profound insight into the unpredictable paths that life can take.

Sorrow and pity: perfectly reasonable reactions to the Holocaust. Yet Marcel Ophls's staggering indictment of French collaboration with Nazi Germany is after an emotion far more insidious—something close to shared national shame. A decade after the movie's initial release, it still couldn't be aired on Paris's televisions.

Dysfunction in rock ’n’ roll is nothing new. Most of the time, though, the public sees it play out in passive-aggressive press quotes, or the occasional onstage fistfight. In the case of metal giants Metallica, they opted to work out their growing interpersonal issues through group therapy – and allowed a documentary crew to film the proceedings. The result is a fascinating look at the alienating effects of massive success. 

The Woodstock Music and Art Fair was the defining cultural event of the 1960s, and Michael Wadleigh’s chronicle of those three days of ‘peace and music’ solidified the concert as the apex of the hippie utopian dream. That part is mostly bullshit, of course – there were multiple sexual assaults, two deaths and numerous institutional lapses that put more attendees’ lives at risk. But goddamn, that performance footage. Jimi Hendrix's scorching rendition of the ‘Star Spangled Banner’ will still singe your eyebrows.

Meet the Beales, "Big Edie" and "Little Edie," former socialites who live in a run-down mansion with lots of cats and no running water. This mesmerizing Maysles-brothers doc inspired a sequel consisting of unreleased footage, an HBO film and even a Broadway musical. Who knew that two isolationist eccentrics could so powerfully capture the public imagination?

Unrelenting, emotional, and visceral in a way that will leave you a little wobbly, this astonishing doc catapults you into Aleppo’s bomb-damaged buildings and dust-shrouded corridors to take shelter from Syrian and Russian air attacks alongside filmmaker Waad Al-Kateab, her doctor husband and the young baby to whom the film is dedicated. Co-directed by Brit Edward Watts, it’s a tapestry of unforgettable moments and a shakycam memoir of life in a dying city. 

Like most families, the Friedmans of Great Neck took video of themselves in their moments of joy and celebration. Unlike most clans, however, this one would be torn apart by sexual abuse, incest and a criminal conviction. They left the cameras rolling, even as their lives unraveled; director Andrew Jarecki shaped the found footage into a heartbreaker.

In her playful cine-essay, Agnès Varda reflects on the mythic French gleaners—field hands who traditionally clean up after harvests—and interviews homeless scavengers of the present day. Her thoughts on the passage of time and her own mortality turn a slight anthropological profile into a profound meditation on life.

Orson Welles’ last burst of filmmaking brilliance is a tribute to the art of deception, something he knows quite a bit about. Ostensibly focused on art forger Elmyr de Hory, the film dives into several other famous hoaxes, including Welles’ own War of the Worlds fakeout, then engages in some skulduggery of its own. It’s something of a precursor to Exit Through the Gift Shop – and Banksy’s whole career, come to think of it.

How did a concert series featuring Stevie Wonder, Sly and the Family Stone and Nina Simone, all at the height of their powers, fade into the footnotes of history? Ahmir ‘Questlove’ Thompson’s Oscar-winning doc about the 1969 Harlem Cultural Festival offers some theories. The context is important, but what gives the film its charge is the pure thrill of rediscovery. Unearthing stirring live footage of the aforementioned artists, as well as the Staple Singers, BB King and the Temptations’ David Ruffin, Thompson makes a convincing case for the event as the true greatest music festival of the ’60s.

On an early, gray morning in August 1974, tightrope-walker Philippe Petit stepped out into an impossible void, the space between the Twin Towers, and danced for an hour. No other film, fictional or otherwise, more fully restores—poetically, with antic humor—our city's loss as does James Marsh's stunner.

An essential piece of cinema history, the Lumire brothers' 50-second film is an unedited shot of a locomotive pulling into a provincial French station. It's often credited as the first movie exhibited for a paying audience; several spectators reportedly dove for cover, convinced the train would break through the screen. Even at this early date, the impact of cinema was enormous.

Way back when school shootings didn’t all blend into one horrific blur, Michael Moore was drilling into the root causes of the 1999 Columbine massacre in suburban Colorado, with a similar mix of righteous anger and irreverent humour that was then coming to flower on The Daily Show. The segment in which Moore escorts two shooting survivors to Kmart and demand refunds for the bullet fragments still lodged in their bodies is gonzo propaganda at its boldest.

Premiering less than a year after the Tet Offensive, Emile de Antonio's scathing indictment of the Vietnam War excels at using the contradictory statements of the military brass, troops and politicians against them. Both Michael Moore and The Daily Show owe this muckraking screed a major debt.

It's eight hours of the Empire State Building in a single shot, with no sound. But call Andy Warhol's minimalist masterpiece "boring" at your own peril. The sunlight fades. A Manhattan evening blooms. Architecture becomes mythic. Warhol's notion of iconic repetition gains power. Admit it: You wish you had thought of this.

Frederick Wiseman's examination of a Philadelphia school is so subtle in its social critique that you might think it's merely about education. But remember what was going on in America at the time: Suddenly, the authority figures stamping out individualism and the frustrated kids being force-fed bankrupt values don't seem so innocuous.

In a just world, this gripping Romanian doc would have beaten Netflix’s cutesy My Octopus Teacher to Oscar glory. Then again, if it were a just world this exposé of state-sponsored corruption probably wouldn’t exist. Surprisingly, it is a team of sports journalists who uncover a medical scandal that needlessly cost the lives of dozens of victims of Bucharest’s Colectiv nightclub in 2015. This startling, Spotlight-like thriller is a local story with sadly universal resonance.

Ball is life, they say, but for many kids in inner-city America, basketball is also a way out. Director Steve James follows two such teens from Chicago, William Gates and Arthur Agee, as they strive to go pro. Not a hoops fan? No matter: this deeply affecting doc is as much about the socioeconomic forces that undergird the sport as the game itself.

The Rolling Stones’ disastrous free concert at the Altamont Speedway in Northern California on December 6, 1969, is remembered as the event that killed the ’60s utopian dream for good, and Albert and David Maysles’ documentary makes it clear why. The brothers’ emotionally-removed, cinéma vérité approach makes it come across like a waking nightmare – especially for Mick Jagger, who’s shown watching the footage of the band’s biker security guards murdering a Black audience member with a look of shell-shocked horror. 

Jennie Livingston’s landmark documentary brought drag culture into the mainstream, and critics have been debating its impact ever since. Did exposing a transgender, predominantly Black and Latinx scene to straight, white audiences help or hurt the queer community at large? Does it matter that Livingston herself was a white outsider? But the discussion surrounding Paris is Burning does not diminish the vitality of the film itself – on its own, it remains a testament to lives lived out loud and the power of allowing marginalised people to speak for themselves. 

Filmed in dramatically crisp black and white yet far from didactic, Tony Kaye's landmark examination of the smoldering battleground of abortion leaves no conviction untested. Renowned libertarians reveal uncertain hearts; pro-lifers squirm in the cool eye of the lens. Kaye shows it all, as well as footage of the procedure itself; we must watch it.

Only an unrelenting homophobe could come away unmoved by Rob Epstein's Academy Award--winning documentary about the groundbreaking San Francisco politician assassinated by a bigoted colleague. It's both an angry film and a compassionate one—a true watershed in the gay-rights struggle.

This spellbinding behind-the-scenes doc by Fax Bahr and George Hickenlooper dishes all the dirt about the making of Francis Ford Coppola's Apocalypse Now (1979). Bad weather, heart attacks, temperamental stars and a ballooning budget—it's amazing a turkey didn't result. For that, Coppola would have to wait until One from the Heart.

No band balanced surrealism and funkiness quite like Talking Heads, and Jonathan Demme manages to capture them at the absolute zenith of their abilities. All things considered, it’s probably still the greatest concert film ever, as memorable for the aesthetics – the famous big suit, frontman David Byrne’s flippy-floppy dance moves – as the musical virtuosity. 

Ava DuVernay’s searing, righteously angry doc – named after the slavery-abolishing Thirteenth Amendment – argues that incarceration has become the new slavery in America. And with a wildly disproportionate Black prison population and corporations using it for free labour, the evidence is irrefutable. DuVernay’s line-up of experts (including activists and historians like Angela Davis and Henry Louis Gates Jr) presents it with ferocious clarity. 13th is essential viewing. 

Todd Douglas Miller’s jaw-dropping space odyssey straps viewers to the side of the thundering Apollo 11 rocket as it careers into, and beyond, the Earth’s atmosphere. The mission, of course, successfully plonked two Americans on to the Moon’s surface and then unplonked them again, thereby winning that leg of the space race with the Soviet Union, but there’s nothing triumphalist in Miller’s thrilling recreation – just a lot of quiet professionalism, teamwork and fearless men in helmets. 

In this one-of-a-kind portrait, Terry Zwigoff takes us deep into the home life of underground comic artist Robert Crumb. Though known for his salacious images of plump females, Crumb comes off as one of the more normal people onscreen alongside troubled siblings Max and Charles. Zwigoff's film never condescends—this is a dysfunctional family we all can empathize with.

It's naïve to think that any documentary can stop a war, but if one decisively damned an outcome, it's Peter Davis's mighty, merciless take on Vietnam. A fatuous American general destroys his own credibility ("The Oriental doesn't put the same high price on life as does the Westerner") while we watch the graves being dug.

As someone who once described the natural world as ‘vile and base’ (see No. 44), the story of a rogue wildlife activist killed by the very animals he swore to protect seems tailor-made for Werner Herzog. Indeed, the director finds a conduit for several of his pet fixations in Timothy Treadwell, a self-styled conservationist who, in 2003, ventured into the wilds of Alaska to live amongst grizzly bears and was inevitably mauled by one. Aided by a trove of Treadwell’s home-video footage – including audio of his own death, mercifully left unheard – Herzog crafts a portrait of obsession, madness and hubris only he could create.

Follow a quartet of real-life Willy Lomans as they peddle Bibles to working-class stiffs, in the Maysles brothers' bleak picture of the American dream circa the late '60s. No film has better captured the drudgery and desperation of the men who live day to day, dollar to dollar, door to door.

Frederick Wiseman's no-holds-barred look at the horrors inside a prison for the criminally insane set the standard for vrit indictments, and not even a 24-year ban on public screenings stopped Wiseman from forcing accountability. Those who praise the power of the camera to effect change rightfully consider this a landmark.

The modernizing Soviet Union swirled around filmmaker Dziga Vertov, who, working with his brilliant editor wife, Elizaveta, decided to capture chaotic urban life in Ukraine. There would be no script, no sound, so hostile was Vertov to narrative. Instead, he would turn his "kino eye" into a hungry maw, one that would cheerfully devour men and women at work, gnashing the image into innovative split-screen and double exposures, breaking the bonds of time and causality. His avant-garde movie, still a stunning piece of futurism, was the entire spirit of the revolution condensed to a single hour. It will inspire as long as there are eyes to watch.

Michael Moore made his spectacular debut with this enraging look at the closing of a GM plant in Flint, Michigan. It's a comic cri de coeur against auto-industry exec Roger Smith, who Moore hilariously attempts to confront about Flint's economic downturn. But it's also an affectionate look at the director's depressed hometown: On his journey, he talks with such colorful characters as Bob Eubanks ("Flint's most famous native son") and Rhonda Britton, an eccentric neighbor who sells rabbits for "pets or meat." A brash and brazen new talent had clearly arrived.

Today, Robert Flaherty's arctic slice of life is criticized: His Inuit subjects, made curious by the bulky camera, couldn't help but act a little. Scenes of igloo building and parenting were staged. Our strapping hero, accustomed to hunting with a gun, was gently urged to revert to his ancestors' spears. (He was also asked to pretend that a female friend of the director was his onscreen wife.) These points are not quibbles. But the greater truth of Flaherty's groundbreaking study can't be denied: Forevermore, documentaries would be committed to the social notion of bringing distant cultures closer (however compromised). So if we wish Nanook were more truthful, it's because it makes us want to better understand the world, a profound achievement for cinema.

Any discussion of Holocaust documentaries must include Alain Resnais's sober, deeply affecting half-hour short. A survivor, Jean Cayrol, authored the omnipresent narration, spoken in detached tones over imagery of an empty and decrepit Auschwitz decades after the ovens cooled. Resnais's camera glides over the landscape as if searching for clues to an unsolvable mystery, while photographs of Nazi medical experiments and their sickening results attest to atrocities that can't possibly be fathomed in full. The film has the feel of a ghost story where the dead, despite their eerie silence, beckon the living to preserve their memory. It will move you to tears—and beyond.

Fans of Bob Dylan will always treasure the way this movie captures their hero at his pop-messiah apex, but even those who don't dig Mr. Zimmerman recognize D.A. Pennebaker's portrait as a groundbreaking work. It invented the fly-on-the-wall rockumentary, following the singer-songwriter as he lounges in hotel rooms and banters with buddies; the illusion of having an all-access pass to a musician's inner life starts here. But the doc's true significance lies in the way it nails a celebrity culture that was just starting to become cannibalistic. Reporters attack Dylan, rabid fans want a piece of him, and everything is reduced to an info-overload blur. The times would be a-changin' for both the media and this 26-year-old messenger very soon.

A masterpiece of what-if storytelling, Peter Watkins's chilling featurette depicts the aftermath of a British nuclear war from a you-are-there perspective. Using scientific research, government statistics, and testimonies on the damage done in Hiroshima and Nagasaki, Watkins presents manufactured scenes of suburban mayhem under the guise of an emergency news report. Fires rage, children expire, and England is turned into a barren wasteland; no one had used the fake-documentary format to such an extent before, or with such urgency since. Originally made for the BBC, Watkins's wake-up call was quickly banned by the network for being too harsh, yet it still nabbed a Best Documentary Oscar in 1966. Forty-five years later, it remains a high mark for employing vrit styles to construct something much more perverse and profound than your typical cautionary tale.

We now take it for granted that documentaries employ re-creations of events, borrow the narrative thrust of fiction and tiptoe into the realm of the poetic. When Errol Morris introduced those techniques into his true-crime tale of a murdered Dallas police officer, however, the effect was galvanizing—and undeniably game-changing. Structured like a whodunit thriller, Morris's case study proved that documentaries could become popular hits, and ended up exonerating an innocent man. But the filmmaker was also crafting a meta-statement about the concept of truth itself, and it treats what could have been a typical investigative film into a real-life Rashomon. He'd pushed the nonfiction form into bold, exciting territory: Once he'd crossed that line, a legion of other filmmakers followed.

Chris Marker's enthralling, globehopping essay is perhaps the finest first-person documentary, one that can leave you rivetingly unmoored. Ostensibly, we're following a world traveler as he journeys between locations, from San Francisco to Africa, from Iceland to Japan. A female narrator speaks over the images as if they were letters home ("He wrote me...") even though the episodes play out right in front of us. Each viewer is bound to have their own favorites: The playful, near-subliminal opening shot of three Icelandic girls walking down a rural road; the Japanese temple dedicated to cats (a very Marker place to visit); the illuminating aside on Hitchcock's Vertigo. The doc feels like a diary that's being written, reread and transposed to celluloid simultaneously, reinventing itself from moment to moment. You'll be mesmerized.

Very often, we're reminded of the virtues of looking honestly and openly, without judgment. And if a documentary can do this, it's special. But there must be room for social justice, central to the impulse to pick up a camera in the first place. Barbara Kopple's staggeringly dense record of a Kentucky coal-mine strike is the ultimate example of crusading art: a chronicle of personal pain and sacrifice as ingrained as the soot in these workers' palms. Duke Power Company drove its employees to the brink of ruination, an existence plagued by black-lung disease, insufficient wages and squalid housing. When productivity ground to a halt, pickers found themselves targeted by armed thugs. Kopple captures it all, bringing the drama to a head while finding room for the rich local culture of bluegrass.

The past is never past; in bringing the Holocaust to life in his towering nine-and-a-half-hour masterpiece, director Claude Lanzmann would stick solely to the present. Shoah is composed of the reflections of Polish survivors, bystanders and, most uneasily, the perpetrators. The memories become living flesh, and an essential part of documentary filmmaking finds its apotheosis: the act of testifying. Our top choice was an obvious one.