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America: a 250 year tribute. i made this 5 minute documentary completely orchestrated by opus with a montage of the remastered versions of the most iconic moments of US history

The Gaza documentary “NAZA” earned a massive 24.5-minute #VeniceFilmFestival# ovation as the crowd cheered and waved Palestinian flags. This marks the longest-ever standing ovation at Venice, beating the 22-minute ovation for “The Voice of Hind Rajab” last year, and perhaps the longest at any film festival, period. The new documentary was shot at night on the rooftops of Tel Aviv and shows “in detail the systems behind Israel’s calculated mass killing of Palestinian civilians in Gaza,” per an official synopsis. Abraham and Szor interviewed 24 Israeli military intelligence officers and soldiers — all of whom spoke on the condition of anonymity — who were involved in the surveillance or remote killing of Palestinian civilians in Gaza. Their appearance and voices were digitally altered to disguise their identities.

A director who doesn't come up to the builder's heels makes a four-hour film about him. Yesterday in Venice, Alex Gibney's nearly four-hour documentary "Musk" had its world premiere. It is a classic case of someone who has spent a career telling other people's stories taking on a man who actually builds those stories with rockets, cars, satellites, and infrastructure, not slides. Alex Gibney is an acclaimed documentarian. An Oscar for Taxi to the Dark Side, Emmys for Going Clear on Scientology, high-profile films on Enron, Elizabeth Holmes and Theranos. His specialty is exposing corporations, cults, and frauds. He does it skillfully and with a thesis. The problem starts when he applies the same method to someone who is not selling an illusion, but hardware that either flies or blows up in front of the entire world. Gibney's fuel is controversy. Elon's fuel is the pursuit of truth hard, engineering truth, the kind that either works on the test stand or it doesn't. It would have been enough to make a film based on facts. Instead we got another rut that fits the slogans of provocation: megalomaniac, confidence man, threat to democracy, an AI avatar reciting old quotes, ex-wives, his father, a former partner. Musk said in 2023 it would be a hit piece. After the premiere, a large share of reviewers effectively agreed with him. I don't know about you, but four hours of falsified formulas would bore me. Instead I watch how much Elon has already done. His energy is extraordinary. Tesla changed the car industry. SpaceX brings rockets back. Starlink works. Starship stands on the pad and prepares for the next flight. This is not a PowerPoint. It is steel, fuel, engines, and people who cannot hide failure in the edit suite. A weak documentary like this is a crumb on the shoulder of his jacket. Now it depends on us when and how quickly that blown-off crumb a utopian attention vampire is simply starved of attention. You could list the names of people who tried to take Elon's energy. Energy is the most precious thing we have. Anyone who steals it with slogans, gossip, and a four-hour indictment that excludes the main subject is sowing under his own feet. Gibney: you reap what you sow. If you have a shred of shame, look at the list of Elon's accomplishments. Look at what kind of person he is for the world and what he does around himself so that things get better cars that drive, internet from orbit, rockets that return, attempts at a brain-computer interface, AI that is supposed to be more than another chatbot. You can dislike his tweets, his political alliances. You cannot honestly erase the scale of what was physically built. A good documentarian should stand, at least for a moment, in the shoes of the person he is portraying. Gibney did not just fail to do that. He took a measure cut for Enron and Holmes and held it up to a man who lands rockets. He left Elon's shoes in the edit suite. Elon walked on barefoot and kept building. One man tells stories about the world from an editing chair. The other moves that world. A four-hour film will not change that. At most it will confirm what people who already disliked Musk already believed. Everyone else can blow the crumb off the jacket and keep going. History does not judge a man by the length of a film. It judges him by what is still in the air when the camera has stopped running. Controversy feeds on attention. Building feeds on repetition. One vanishes when you look away. The other keeps flying. You can cut a man together in four hours. You cannot cut a landing together. A documentary can be switched off. The work cannot.

Resurfaced clip from Abdul El-Sayed documentary shows him directing his crew to NOT film his shelf full of Qurans in order to "keep the shot secular." He doesn't want people seeing that side of him. I wonder why... h/t @FreeBeacon

Out now. Mountaineer Dawa Yangzum Sherpa has broken barriers for female alpinists. Now, as part of an exclusive documentary series about the #RolexFamily#, she reveals what it is like to live a ‘Life at Altitude’. More on #PerpetualPlanet# #Reachforthecrown#

So many people knew Hayden Panettiere as an actress, but many may not know that she was also an incredibly passionate advocate for dolphins and whales. In 2007, at just 18 years old, Hayden traveled to Taiji, Japan, where she joined a group of activists who paddled directly into the infamous cove in an attempt to stop a group of dolphins from being killed. She wasn’t there playing a role. She put herself in the middle of what was happening because she believed it was wrong. The confrontation was captured on camera and would later become part of the Academy Award-winning documentary The Cove. I’ve talked about The Cove many times over the years, and tonight I’m at a loss for words. Millions of people will remember Hayden for Heroes, Nashville, Scream and the many characters she brought to life. I hope she’s also remembered for the things she cared about when the cameras weren’t supposed to be rolling. Rest in peace, Hayden. 🤍

Seedance 2.5 Prompt: Create a 30-second ultra-realistic candid home-video sequence of a young Korean woman in her early 20s living an ordinary late morning in a quiet Korean residential neighborhood. SUBJECT: Young Korean woman, natural everyday appearance, realistic skin texture, minimal makeup, black wavy hair in a messy side ponytail with wispy bangs. Faded charcoal-grey sleeveless crop top, loose high-waisted light-wash jeans, black canvas sneakers, simple black cord necklace. Warm, relaxed personality. Keep her face, body, hairstyle, clothing, and appearance perfectly consistent throughout. SETTING: Authentic Korean residential neighborhood — narrow concrete alleys, low-rise homes, small terraces, potted plants, laundry lines, bicycles, utility poles, overhead wires and mature trees. Quiet, lived-in atmosphere. No shops, advertisements, crowds, cafés, or commercial activity. VISUAL STYLE: Ultra-realistic documentary home-video footage from an early-2000s consumer DV camcorder. Imperfect handheld operation, natural camera shake, awkward framing, occasional reframing, autofocus hunting, slight lens breathing, exposure pumping between sunlight and shade, subtle motion blur, mild rolling shutter, faded colors, soft contrast, slight digital compression and sensor noise. No stabilization, no cinematic camera moves, no modern color grading. Everything must feel genuinely captured, not AI-generated. TIMELINE: 00:00–00:05 — Outside her small house, she sits on a low concrete wall adjusting her messy ponytail. Wind moves loose strands of hair. She casually smiles while the camera struggles to lock focus. 00:05–00:10 — She walks into a narrow residential alley. A stray cat approaches. She crouches naturally, pets it and gently feeds it. Autofocus shifts imperfectly between her face and the cat. 00:10–00:15 — In a small front yard, she hangs laundry on a clothesline. Fabric moves naturally in the breeze while sunlight and cloud shadows subtly change the exposure. 00:15–00:20 — She sits on a quiet terrace with a simple ceramic coffee cup, casually watching the neighborhood and brushing loose hair behind her ear. Handheld side angle with natural camera drift. 00:20–00:25 — Close side profile. Someone off-camera casually greets her. She turns, smiles warmly, raises her hand and naturally says, “Annyeong.” The camera reacts slightly late. 00:25–00:30 — She walks slowly down a tree-lined residential lane holding her coffee. She notices the camera, gives a small genuine smile, then looks away and continues walking. The recording abruptly cuts to black mid-motion like an old camcorder being switched off. AUDIO: Only authentic location sound: birds, distant motorcycles, light wind, rustling leaves, faint neighborhood chatter, cat sounds, footsteps on concrete, laundry moving on the clothesline and subtle residential ambience. Natural Korean speech only. No music, narration, cinematic sound effects, or artificial sound design. GOAL: Make it feel like a forgotten personal home video from the early 2000s — intimate, spontaneous, imperfect, warm, mundane and deeply believable. Prioritize realistic human motion, natural facial expressions, physical interaction, environmental detail and consistent identity over cinematic beauty.

新国大中文EMBA毕业典礼纪录短片上线 The NUS EMBA Chinese Graduation Ceremony Mini-Documentary Is Now Live 从清晨准备，到典礼高光；从拥抱合影，到不舍告别。毕业日的每一帧，都是新国大中文EMBA 2026届毕业生共同走过的见证。 From morning preparations to the ceremony stage, from warm embraces to heartfelt goodbyes. Every frame of graduation day captures a m eaningful moment shared by the NUS EMBA Chinese Class of 2026 — a celebration of the journey they have taken together, and the road ahead.