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<!DOCTYPE html><html lang="en-US"><head><title>Video | The New Yorker</title><meta charSet="utf-8"/><meta content="IE=edge" http-equiv="X-UA-Compatible"/><meta name="msapplication-tap-highlight" content="no"/><meta name="viewport" content="width=device-width, initial-scale=1"/><meta name="author" content="Condé Nast"/><meta name="copyright" content="Copyright (c) Condé Nast 2025"/><meta name="description" content="Documentaries and narrative short films from around the world."/><meta name="id" content="640786e4fabb0b271cb35370"/><meta name="keywords" content="web"/><meta name="news_keywords" content="web"/><meta name="robots" content="index, follow, max-image-preview:large"/><meta name="content-type" content="bundle"/><meta name="parsely-post-id" content="640786e4fabb0b271cb35370"/><meta name="parsely-metadata" content="{"description":"Documentaries and narrative short films from around the world."}"/><meta property="og:description" content="Documentaries and narrative short films from 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cXTooZ rubric BaseWrap-sc-gjQpdd BaseText-ewhhUZ SmartItemBaseText-iLrjJl SmartItemRubric-kwkmOI iUEiRd bLsDiZ esxydx smart-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">Press Room</span></div><a class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SmartItemBaseText-iLrjJl SmartItemHedLink-cqjPbY iUEiRd bPjmBc bGehGF cufqdW smart-item__hed-link" href="/news/press-room/the-new-yorker-film-im-not-a-robot-wins-a-2025-academy-award"><h3 class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SmartItemBaseText-iLrjJl SmartItemHed-dDDbYE FocusUnitHed-iDAHC iUEiRd cCoLZv fyqysi eZpsfS smart-item__hed">The New Yorker Film “I’m Not a Robot” Wins a 2025 Academy Award</h3></a><p class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SmartItemBaseText-iLrjJl SmartItemDek-kwObLH FocusUnitDek-dydmNN iUEiRd iUFmec kWLZjE dBbrUg smart-item__dek">The Oscar for Best Live Action Short went to Victoria Warmerdam’s darkly comic tale about a woman who fails a series of <em class="small">CAPTCHA</em> tests.</p><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk jYjxgY bylines BaseWrap-sc-gjQpdd BaseText-ewhhUZ SmartItemBaseText-iLrjJl SmartItemBylines-dpFcxT FocusUnitBylines-dKLlxd iUEiRd iNOtSi gtCXjU kwEeiJ smart-item__contributor"><span class="BylineWrapper-jWHrLH YYNuC byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>The New Yorker</span></span></span></div><p class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SmartItemBaseText-iLrjJl SmartItemPublishedDate-qNspN iUEiRd bibEBd loxpsx smart-item__published-date">March 2, 2025</p></div></div></div></div><footer class="CarouselFooter-esJGvc gkIoMA BaseWrap-sc-gjQpdd SmartContainerFooter-dQDDXK iUEiRd kYJXbU 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Documentary</h2></div><p class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryDekDefault-fFxfZs iUEiRd bPjmBc jTDZtf"><em>Short films that offer uncommon perspectives on pressing global issues.</em> <a href="https://www.newyorker.com/culture/the-new-yorker-documentary"><em>See more »</em></a></p><div class="CarouselListWrapper-jQxmFf eowCGc"><ul class="CarouselList-bNvcrU hTeqLf"><li class="CarouselListItem-bdBeQp iHwRlE"><div class="SummaryItemWrapper-iwvBff kCgGpg summary-item summary-item--has-border summary-item--article summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below summary-item--layout-position-image-left summary-item--layout-proportions-50-50 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard" data-item="{"dangerousHed":"How an L.G.B.T.Q. Helpline Became a Lifeline","id":"67be57b9dcf03ddac6c0c428","contentType":"venue","hotelLink":"/culture/the-new-yorker-documentary/how-switchboard-an-lgbtq-helpline-became-a-lifeline","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb cPpCwE summary-item__image-link summary-item-tracking__image-link" href="/culture/the-new-yorker-documentary/how-switchboard-an-lgbtq-helpline-became-a-lifeline" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW jvZaPI responsive-asset SummaryItemResponsiveAsset-hjGIGg gPGLdl summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz ejJpr"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gPGLdl summary-item__image responsive-image"><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67be95460eb694de2fd119c7/4:3/w_120,c_limit/callers_gif1.gif 120w, https://media.newyorker.com/photos/67be95460eb694de2fd119c7/4:3/w_240,c_limit/callers_gif1.gif 240w, https://media.newyorker.com/photos/67be95460eb694de2fd119c7/4:3/w_320,c_limit/callers_gif1.gif 320w, https://media.newyorker.com/photos/67be95460eb694de2fd119c7/4:3/w_640,c_limit/callers_gif1.gif 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67be95460eb694de2fd119c7/16:9/w_120,c_limit/callers_gif1.gif 120w, https://media.newyorker.com/photos/67be95460eb694de2fd119c7/16:9/w_240,c_limit/callers_gif1.gif 240w, https://media.newyorker.com/photos/67be95460eb694de2fd119c7/16:9/w_320,c_limit/callers_gif1.gif 320w, https://media.newyorker.com/photos/67be95460eb694de2fd119c7/16:9/w_640,c_limit/callers_gif1.gif 640w, https://media.newyorker.com/photos/67be95460eb694de2fd119c7/16:9/w_960,c_limit/callers_gif1.gif 960w, https://media.newyorker.com/photos/67be95460eb694de2fd119c7/16:9/w_1280,c_limit/callers_gif1.gif 1280w, https://media.newyorker.com/photos/67be95460eb694de2fd119c7/16:9/w_1600,c_limit/callers_gif1.gif 1600w" sizes="100vw"/><img alt="How an L.G.B.T.Q. 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Helpline Became a Lifeline</h3></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo ptJEE summary-item__dek">Volunteers for Switchboard reflect on the conversations they make with callers, whether reaching out from the depths of a crisis or looking for connection and advice.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">Film by 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class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX cXTooZ rubric SummaryItemRubric-dguGKN lapGFj summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">The New Yorker Documentary</span></div></div><a class="SummaryItemHedLink-civMjp dVrbhU summary-item-tracking__hed-link summary-item__hed-link" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/culture/the-new-yorker-documentary/a-young-girl-questions-wearing-a-head-scarf-in-rizoo" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ kTTbYw summary-item__hed" data-testid="SummaryItemHed">A Young Girl Questions Wearing a Head Scarf in “Rizoo”</h3></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo ptJEE summary-item__dek">Azadeh Navai’s short film follows a rebellious girl who asks questions about when and why she needs to wear a hijab.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">Film by </span>Azadeh Navai</span></span></span></div></div></div></div></div></div></li><li class="CarouselListItem-bdBeQp fJoUVE"><div class="SummaryItemWrapper-iwvBff kCgGpg summary-item summary-item--has-border summary-item--article summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below summary-item--layout-position-image-left summary-item--layout-proportions-50-50 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard" data-item="{"dangerousHed":"One Conductor’s Mission to Diversify Music in “The Orchestra Chuck Built”","id":"66d75979ac63e21345a4cb2e","contentType":"venue","hotelLink":"/culture/the-new-yorker-documentary/one-conductors-mission-to-diversify-music-in-the-orchestra-chuck-built","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb cPpCwE summary-item__image-link summary-item-tracking__image-link" href="/culture/the-new-yorker-documentary/one-conductors-mission-to-diversify-music-in-the-orchestra-chuck-built" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW jvZaPI responsive-asset SummaryItemResponsiveAsset-hjGIGg gPGLdl summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz ejJpr"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gPGLdl summary-item__image responsive-image"><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/66d759b1e4160dcf6d24bebe/4:3/w_120,c_limit/TOCB_thumb8.jpg 120w, https://media.newyorker.com/photos/66d759b1e4160dcf6d24bebe/4:3/w_240,c_limit/TOCB_thumb8.jpg 240w, https://media.newyorker.com/photos/66d759b1e4160dcf6d24bebe/4:3/w_320,c_limit/TOCB_thumb8.jpg 320w, https://media.newyorker.com/photos/66d759b1e4160dcf6d24bebe/4:3/w_640,c_limit/TOCB_thumb8.jpg 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/66d759b1e4160dcf6d24bebe/16:9/w_120,c_limit/TOCB_thumb8.jpg 120w, https://media.newyorker.com/photos/66d759b1e4160dcf6d24bebe/16:9/w_240,c_limit/TOCB_thumb8.jpg 240w, https://media.newyorker.com/photos/66d759b1e4160dcf6d24bebe/16:9/w_320,c_limit/TOCB_thumb8.jpg 320w, https://media.newyorker.com/photos/66d759b1e4160dcf6d24bebe/16:9/w_640,c_limit/TOCB_thumb8.jpg 640w, https://media.newyorker.com/photos/66d759b1e4160dcf6d24bebe/16:9/w_960,c_limit/TOCB_thumb8.jpg 960w, https://media.newyorker.com/photos/66d759b1e4160dcf6d24bebe/16:9/w_1280,c_limit/TOCB_thumb8.jpg 1280w, https://media.newyorker.com/photos/66d759b1e4160dcf6d24bebe/16:9/w_1600,c_limit/TOCB_thumb8.jpg 1600w" sizes="100vw"/><img alt="One Conductor’s Mission to Diversify Music in “The Orchestra Chuck Built”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/66d759b1e4160dcf6d24bebe/16:9/w_1600%2Cc_limit/TOCB_thumb8.jpg"/></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dogWHS summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX cXTooZ rubric SummaryItemRubric-dguGKN lapGFj summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">The New Yorker Documentary</span></div></div><a class="SummaryItemHedLink-civMjp dVrbhU summary-item-tracking__hed-link summary-item__hed-link" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/culture/the-new-yorker-documentary/one-conductors-mission-to-diversify-music-in-the-orchestra-chuck-built" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ kTTbYw summary-item__hed" data-testid="SummaryItemHed">One Conductor’s Mission to Diversify Music in “The Orchestra Chuck Built”</h3></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo ptJEE summary-item__dek">Christopher Stoudt’s film tells the story of a conductor leading the Inner City Youth Orchestra of Los Angeles and of the transformative power of music.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">Film by </span>Christopher Stoudt</span></span></span></div></div></div></div></div></div></li><li class="CarouselListItem-bdBeQp fJoUVE"><div class="SummaryItemWrapper-iwvBff kCgGpg summary-item summary-item--has-border summary-item--article summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below summary-item--layout-position-image-left summary-item--layout-proportions-50-50 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard" data-item="{"dangerousHed":"A Ninety-Nine-Year-Old Lawyer’s Final Case in “Frank”","id":"673f67a26b89c57ed959066d","contentType":"venue","hotelLink":"/culture/the-new-yorker-documentary/a-ninety-nine-year-old-lawyers-final-case-in-frank","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb cPpCwE summary-item__image-link summary-item-tracking__image-link" href="/culture/the-new-yorker-documentary/a-ninety-nine-year-old-lawyers-final-case-in-frank" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW jvZaPI responsive-asset SummaryItemResponsiveAsset-hjGIGg gPGLdl summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz ejJpr"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gPGLdl summary-item__image responsive-image"><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/673f67c0516b442e4360ed36/4:3/w_120,c_limit/frank_gif5.gif 120w, https://media.newyorker.com/photos/673f67c0516b442e4360ed36/4:3/w_240,c_limit/frank_gif5.gif 240w, https://media.newyorker.com/photos/673f67c0516b442e4360ed36/4:3/w_320,c_limit/frank_gif5.gif 320w, https://media.newyorker.com/photos/673f67c0516b442e4360ed36/4:3/w_640,c_limit/frank_gif5.gif 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/673f67c0516b442e4360ed36/16:9/w_120,c_limit/frank_gif5.gif 120w, https://media.newyorker.com/photos/673f67c0516b442e4360ed36/16:9/w_240,c_limit/frank_gif5.gif 240w, https://media.newyorker.com/photos/673f67c0516b442e4360ed36/16:9/w_320,c_limit/frank_gif5.gif 320w, https://media.newyorker.com/photos/673f67c0516b442e4360ed36/16:9/w_640,c_limit/frank_gif5.gif 640w, https://media.newyorker.com/photos/673f67c0516b442e4360ed36/16:9/w_960,c_limit/frank_gif5.gif 960w, https://media.newyorker.com/photos/673f67c0516b442e4360ed36/16:9/w_1280,c_limit/frank_gif5.gif 1280w, https://media.newyorker.com/photos/673f67c0516b442e4360ed36/16:9/w_1600,c_limit/frank_gif5.gif 1600w" sizes="100vw"/><img alt="A Ninety-Nine-Year-Old Lawyer’s Final Case in “Frank”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/673f67c0516b442e4360ed36/16:9/w_1600%2Cc_limit/frank_gif5.gif"/></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dogWHS summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX cXTooZ rubric SummaryItemRubric-dguGKN lapGFj summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">The New Yorker Documentary</span></div></div><a class="SummaryItemHedLink-civMjp dVrbhU summary-item-tracking__hed-link summary-item__hed-link" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/culture/the-new-yorker-documentary/a-ninety-nine-year-old-lawyers-final-case-in-frank" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ kTTbYw summary-item__hed" data-testid="SummaryItemHed">A Ninety-Nine-Year-Old Lawyer’s Final Case in “Frank”</h3></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo ptJEE summary-item__dek">Frank Lucianna spent most of his life as a criminal-defense lawyer from New Jersey; even as he pushed a hundred, he didn’t wish to retire.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">Film by </span>David Gauvey Herbert</span></span></span></div></div></div></div></div></div></li><li class="CarouselListItem-bdBeQp fJoUVE"><div class="SummaryItemWrapper-iwvBff kCgGpg summary-item summary-item--has-border summary-item--article summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below summary-item--layout-position-image-left summary-item--layout-proportions-50-50 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard" data-item="{"dangerousHed":"“Goodbye, Morganza” Follows the Legacy of a Black Family’s Property Loss","id":"6732897847bf5cfb6f7df6c3","contentType":"venue","hotelLink":"/culture/the-new-yorker-documentary/goodbye-morganza-follows-the-legacy-of-a-black-familys-property-loss","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb cPpCwE summary-item__image-link summary-item-tracking__image-link" href="/culture/the-new-yorker-documentary/goodbye-morganza-follows-the-legacy-of-a-black-familys-property-loss" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gPGLdl summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz ejJpr"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gPGLdl summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67328ad52a1c556f27ea8142/4:3/w_120,c_limit/GOODBYEMORGANZA_gif1.gif 120w, https://media.newyorker.com/photos/67328ad52a1c556f27ea8142/4:3/w_240,c_limit/GOODBYEMORGANZA_gif1.gif 240w, https://media.newyorker.com/photos/67328ad52a1c556f27ea8142/4:3/w_320,c_limit/GOODBYEMORGANZA_gif1.gif 320w, https://media.newyorker.com/photos/67328ad52a1c556f27ea8142/4:3/w_640,c_limit/GOODBYEMORGANZA_gif1.gif 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67328ad52a1c556f27ea8142/16:9/w_120,c_limit/GOODBYEMORGANZA_gif1.gif 120w, https://media.newyorker.com/photos/67328ad52a1c556f27ea8142/16:9/w_240,c_limit/GOODBYEMORGANZA_gif1.gif 240w, https://media.newyorker.com/photos/67328ad52a1c556f27ea8142/16:9/w_320,c_limit/GOODBYEMORGANZA_gif1.gif 320w, https://media.newyorker.com/photos/67328ad52a1c556f27ea8142/16:9/w_640,c_limit/GOODBYEMORGANZA_gif1.gif 640w, https://media.newyorker.com/photos/67328ad52a1c556f27ea8142/16:9/w_960,c_limit/GOODBYEMORGANZA_gif1.gif 960w, https://media.newyorker.com/photos/67328ad52a1c556f27ea8142/16:9/w_1280,c_limit/GOODBYEMORGANZA_gif1.gif 1280w, https://media.newyorker.com/photos/67328ad52a1c556f27ea8142/16:9/w_1600,c_limit/GOODBYEMORGANZA_gif1.gif 1600w" sizes="100vw"/><img alt="“Goodbye, Morganza” Follows the Legacy of a Black Family’s Property Loss" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67328ad52a1c556f27ea8142/16:9/w_1600%2Cc_limit/GOODBYEMORGANZA_gif1.gif"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dogWHS summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX cXTooZ rubric SummaryItemRubric-dguGKN lapGFj summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">The New Yorker Documentary</span></div></div><a class="SummaryItemHedLink-civMjp dVrbhU summary-item-tracking__hed-link summary-item__hed-link" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/culture/the-new-yorker-documentary/goodbye-morganza-follows-the-legacy-of-a-black-familys-property-loss" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ kTTbYw summary-item__hed" data-testid="SummaryItemHed">“Goodbye, Morganza” Follows the Legacy of a Black Family’s Property Loss</h3></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo ptJEE summary-item__dek">Devon Blackwell’s short documentary explores how her great-grandparents lost the house they had owned since 1892, and the impact of that loss on generations of her family.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">Film by </span>Devon Blackwell</span></span></span></div></div></div></div></div></div></li><li class="CarouselListItem-bdBeQp fJoUVE"><div class="SummaryItemWrapper-iwvBff kCgGpg summary-item summary-item--has-border summary-item--article summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below summary-item--layout-position-image-left summary-item--layout-proportions-50-50 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard" data-item="{"dangerousHed":"Offering Dignity for Those Who Die Alone in “People Like Us”","id":"672a5c0fa19553d1e6e36c6f","contentType":"venue","hotelLink":"/culture/the-new-yorker-documentary/offering-dignity-for-those-who-die-alone-in-people-like-us","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb cPpCwE summary-item__image-link summary-item-tracking__image-link" href="/culture/the-new-yorker-documentary/offering-dignity-for-those-who-die-alone-in-people-like-us" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gPGLdl summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz ejJpr"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gPGLdl summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/672a5c267e343b6773d9397b/4:3/w_120,c_limit/People%20Like%20Us%20gif4.gif 120w, https://media.newyorker.com/photos/672a5c267e343b6773d9397b/4:3/w_240,c_limit/People%20Like%20Us%20gif4.gif 240w, https://media.newyorker.com/photos/672a5c267e343b6773d9397b/4:3/w_320,c_limit/People%20Like%20Us%20gif4.gif 320w, https://media.newyorker.com/photos/672a5c267e343b6773d9397b/4:3/w_640,c_limit/People%20Like%20Us%20gif4.gif 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/672a5c267e343b6773d9397b/16:9/w_120,c_limit/People%20Like%20Us%20gif4.gif 120w, https://media.newyorker.com/photos/672a5c267e343b6773d9397b/16:9/w_240,c_limit/People%20Like%20Us%20gif4.gif 240w, https://media.newyorker.com/photos/672a5c267e343b6773d9397b/16:9/w_320,c_limit/People%20Like%20Us%20gif4.gif 320w, https://media.newyorker.com/photos/672a5c267e343b6773d9397b/16:9/w_640,c_limit/People%20Like%20Us%20gif4.gif 640w, https://media.newyorker.com/photos/672a5c267e343b6773d9397b/16:9/w_960,c_limit/People%20Like%20Us%20gif4.gif 960w, https://media.newyorker.com/photos/672a5c267e343b6773d9397b/16:9/w_1280,c_limit/People%20Like%20Us%20gif4.gif 1280w, https://media.newyorker.com/photos/672a5c267e343b6773d9397b/16:9/w_1600,c_limit/People%20Like%20Us%20gif4.gif 1600w" sizes="100vw"/><img alt="Offering Dignity for Those Who Die Alone in “People Like Us”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/672a5c267e343b6773d9397b/16:9/w_1600%2Cc_limit/People%2520Like%2520Us%2520gif4.gif"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dogWHS summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX cXTooZ rubric SummaryItemRubric-dguGKN lapGFj summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">The New Yorker Documentary</span></div></div><a class="SummaryItemHedLink-civMjp dVrbhU summary-item-tracking__hed-link summary-item__hed-link" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/culture/the-new-yorker-documentary/offering-dignity-for-those-who-die-alone-in-people-like-us" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ kTTbYw summary-item__hed" data-testid="SummaryItemHed">Offering Dignity for Those Who Die Alone in “People Like Us”</h3></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo ptJEE summary-item__dek">Pedro Samper’s short film follows a woman who operates a cemetery in Colombia for people who die, mostly Venezuelan migrants, without anyone to see their burial.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">Film by </span>Pedro Samper</span></span></span></div></div></div></div></div></div></li><li class="CarouselListItem-bdBeQp fJoUVE"><div class="SummaryItemWrapper-iwvBff kCgGpg summary-item summary-item--has-border summary-item--article summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below summary-item--layout-position-image-left summary-item--layout-proportions-50-50 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard" data-item="{"dangerousHed":"A Family Reckons with a Father’s Wish to Be Preserved Using Cryonics in “Eternal Father”","id":"671964ba75cedb6c6c8624c8","contentType":"venue","hotelLink":"/culture/the-new-yorker-documentary/a-family-reckons-with-a-fathers-wish-to-be-preserved-using-cryonics-in-eternal-father","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb cPpCwE summary-item__image-link summary-item-tracking__image-link" href="/culture/the-new-yorker-documentary/a-family-reckons-with-a-fathers-wish-to-be-preserved-using-cryonics-in-eternal-father" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gPGLdl summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz ejJpr"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gPGLdl summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/6719665e55abe2a473401a08/4:3/w_120,c_limit/eternalfather_gif7.gif 120w, https://media.newyorker.com/photos/6719665e55abe2a473401a08/4:3/w_240,c_limit/eternalfather_gif7.gif 240w, https://media.newyorker.com/photos/6719665e55abe2a473401a08/4:3/w_320,c_limit/eternalfather_gif7.gif 320w, https://media.newyorker.com/photos/6719665e55abe2a473401a08/4:3/w_640,c_limit/eternalfather_gif7.gif 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/6719665e55abe2a473401a08/16:9/w_120,c_limit/eternalfather_gif7.gif 120w, https://media.newyorker.com/photos/6719665e55abe2a473401a08/16:9/w_240,c_limit/eternalfather_gif7.gif 240w, https://media.newyorker.com/photos/6719665e55abe2a473401a08/16:9/w_320,c_limit/eternalfather_gif7.gif 320w, https://media.newyorker.com/photos/6719665e55abe2a473401a08/16:9/w_640,c_limit/eternalfather_gif7.gif 640w, https://media.newyorker.com/photos/6719665e55abe2a473401a08/16:9/w_960,c_limit/eternalfather_gif7.gif 960w, https://media.newyorker.com/photos/6719665e55abe2a473401a08/16:9/w_1280,c_limit/eternalfather_gif7.gif 1280w, https://media.newyorker.com/photos/6719665e55abe2a473401a08/16:9/w_1600,c_limit/eternalfather_gif7.gif 1600w" sizes="100vw"/><img alt="A Family Reckons with a Father’s Wish to Be Preserved Using Cryonics in “Eternal Father”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/6719665e55abe2a473401a08/16:9/w_1600%2Cc_limit/eternalfather_gif7.gif"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dogWHS summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX cXTooZ rubric SummaryItemRubric-dguGKN lapGFj summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">The New Yorker Documentary</span></div></div><a class="SummaryItemHedLink-civMjp dVrbhU summary-item-tracking__hed-link summary-item__hed-link" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/culture/the-new-yorker-documentary/a-family-reckons-with-a-fathers-wish-to-be-preserved-using-cryonics-in-eternal-father" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ kTTbYw summary-item__hed" data-testid="SummaryItemHed">A Family Reckons with a Father’s Wish to Be Preserved Using Cryonics in “Eternal Father”</h3></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo ptJEE summary-item__dek">In Ömer Sami’s documentary short, a man’s wish to be cryogenically frozen after death raises questions for his wife and children.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">Film by </span>Ömer Sami</span></span></span></div></div></div></div></div></div></li><li class="CarouselListItem-bdBeQp fJoUVE"><div class="SummaryItemWrapper-iwvBff kCgGpg summary-item summary-item--has-border summary-item--article summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below summary-item--layout-position-image-left summary-item--layout-proportions-50-50 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard" data-item="{"dangerousHed":"Telling the Story of Ethiopia’s Red Terror Through a Family Artifact","id":"6717a1f02279f1e23e62d5ae","contentType":"venue","hotelLink":"/culture/the-new-yorker-documentary/telling-the-story-of-ethiopias-red-terror-through-a-family-artifact","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb cPpCwE summary-item__image-link summary-item-tracking__image-link" href="/culture/the-new-yorker-documentary/telling-the-story-of-ethiopias-red-terror-through-a-family-artifact" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gPGLdl summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz ejJpr"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gPGLdl summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67183598a9cf36eb3e106441/4:3/w_120,c_limit/THE%20MEDALLION_gif5.gif 120w, https://media.newyorker.com/photos/67183598a9cf36eb3e106441/4:3/w_240,c_limit/THE%20MEDALLION_gif5.gif 240w, 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https://media.newyorker.com/photos/67183598a9cf36eb3e106441/16:9/w_1600,c_limit/THE%20MEDALLION_gif5.gif 1600w" sizes="100vw"/><img alt="Telling the Story of Ethiopia’s Red Terror Through a Family Artifact" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67183598a9cf36eb3e106441/16:9/w_1600%2Cc_limit/THE%2520MEDALLION_gif5.gif"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dogWHS summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX cXTooZ rubric SummaryItemRubric-dguGKN lapGFj summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">The New Yorker Documentary</span></div></div><a class="SummaryItemHedLink-civMjp dVrbhU summary-item-tracking__hed-link summary-item__hed-link" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/culture/the-new-yorker-documentary/telling-the-story-of-ethiopias-red-terror-through-a-family-artifact" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ kTTbYw summary-item__hed" data-testid="SummaryItemHed">Telling the Story of Ethiopia’s Red Terror Through a Family Artifact</h3></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo ptJEE summary-item__dek">In Ruth Hunduma’s short documentary “The Medallion,” a mother’s memories serve as a window to a history of genocide and survival.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">Film by </span>Ruth Hunduma</span></span></span></div></div></div></div></div></div></li><li class="CarouselListItem-bdBeQp fJoUVE"><div class="SummaryItemWrapper-iwvBff kCgGpg summary-item summary-item--has-border summary-item--article summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below summary-item--layout-position-image-left summary-item--layout-proportions-50-50 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard" data-item="{"dangerousHed":"A Veterinarian’s Soothing Compassion, in “The Passing”","id":"670ede2f8479beaf8e8792fa","contentType":"venue","hotelLink":"/culture/the-new-yorker-documentary/a-veterinarians-soothing-compassion-in-the-passing","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb cPpCwE summary-item__image-link summary-item-tracking__image-link" href="/culture/the-new-yorker-documentary/a-veterinarians-soothing-compassion-in-the-passing" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gPGLdl summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz ejJpr"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gPGLdl summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/670ede5e8479beaf8e8792fc/4:3/w_120,c_limit/thepassing_gif3.gif 120w, https://media.newyorker.com/photos/670ede5e8479beaf8e8792fc/4:3/w_240,c_limit/thepassing_gif3.gif 240w, https://media.newyorker.com/photos/670ede5e8479beaf8e8792fc/4:3/w_320,c_limit/thepassing_gif3.gif 320w, https://media.newyorker.com/photos/670ede5e8479beaf8e8792fc/4:3/w_640,c_limit/thepassing_gif3.gif 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/670ede5e8479beaf8e8792fc/16:9/w_120,c_limit/thepassing_gif3.gif 120w, https://media.newyorker.com/photos/670ede5e8479beaf8e8792fc/16:9/w_240,c_limit/thepassing_gif3.gif 240w, https://media.newyorker.com/photos/670ede5e8479beaf8e8792fc/16:9/w_320,c_limit/thepassing_gif3.gif 320w, https://media.newyorker.com/photos/670ede5e8479beaf8e8792fc/16:9/w_640,c_limit/thepassing_gif3.gif 640w, 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summary-item-tracking__hed-link summary-item__hed-link" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/culture/the-new-yorker-documentary/a-veterinarians-soothing-compassion-in-the-passing" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ kTTbYw summary-item__hed" data-testid="SummaryItemHed">A Veterinarian’s Soothing Compassion, in “The Passing”</h3></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo ptJEE summary-item__dek">The documentary short by Patrick Bresnan and Ivete Lucas follows Michael Mullen on his rounds attending to pets and their owners.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">Film by </span>Patrick Bresnan</span> and <span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name">Ivete Lucas</span></span></span><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">Text by </span>Rachel Riederer</span></span></span></div></div></div></div></div></div></li><li class="CarouselListItem-bdBeQp fJoUVE"><div class="SummaryItemWrapper-iwvBff kCgGpg summary-item summary-item--has-border summary-item--article summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below summary-item--layout-position-image-left summary-item--layout-proportions-50-50 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard" data-item="{"dangerousHed":"A Public Defender’s Radical Approach to Representing the January 6th Rioters","id":"67041dcb51c4014f149d0785","contentType":"venue","hotelLink":"/culture/the-new-yorker-documentary/a-public-defenders-radical-approach-to-representing-the-january-6th-rioters","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb cPpCwE summary-item__image-link summary-item-tracking__image-link" href="/culture/the-new-yorker-documentary/a-public-defenders-radical-approach-to-representing-the-january-6th-rioters" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gPGLdl summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz ejJpr"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gPGLdl summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67041de35b0cdd92ea01694a/4:3/w_120,c_limit/Public_Defender_gif4.gif 120w, https://media.newyorker.com/photos/67041de35b0cdd92ea01694a/4:3/w_240,c_limit/Public_Defender_gif4.gif 240w, https://media.newyorker.com/photos/67041de35b0cdd92ea01694a/4:3/w_320,c_limit/Public_Defender_gif4.gif 320w, https://media.newyorker.com/photos/67041de35b0cdd92ea01694a/4:3/w_640,c_limit/Public_Defender_gif4.gif 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67041de35b0cdd92ea01694a/16:9/w_120,c_limit/Public_Defender_gif4.gif 120w, https://media.newyorker.com/photos/67041de35b0cdd92ea01694a/16:9/w_240,c_limit/Public_Defender_gif4.gif 240w, https://media.newyorker.com/photos/67041de35b0cdd92ea01694a/16:9/w_320,c_limit/Public_Defender_gif4.gif 320w, https://media.newyorker.com/photos/67041de35b0cdd92ea01694a/16:9/w_640,c_limit/Public_Defender_gif4.gif 640w, https://media.newyorker.com/photos/67041de35b0cdd92ea01694a/16:9/w_960,c_limit/Public_Defender_gif4.gif 960w, https://media.newyorker.com/photos/67041de35b0cdd92ea01694a/16:9/w_1280,c_limit/Public_Defender_gif4.gif 1280w, https://media.newyorker.com/photos/67041de35b0cdd92ea01694a/16:9/w_1600,c_limit/Public_Defender_gif4.gif 1600w" sizes="100vw"/><img alt="A Public Defender’s Radical Approach to Representing the January 6th Rioters" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67041de35b0cdd92ea01694a/16:9/w_1600%2Cc_limit/Public_Defender_gif4.gif"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dogWHS summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX cXTooZ rubric SummaryItemRubric-dguGKN lapGFj summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">The New Yorker Documentary</span></div></div><a class="SummaryItemHedLink-civMjp dVrbhU summary-item-tracking__hed-link summary-item__hed-link" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/culture/the-new-yorker-documentary/a-public-defenders-radical-approach-to-representing-the-january-6th-rioters" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ kTTbYw summary-item__hed" data-testid="SummaryItemHed">A Public Defender’s Radical Approach to Representing the January 6th Rioters</h3></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo ptJEE summary-item__dek">Andrea Kalin’s documentary follows the work of a criminal-defense lawyer who strives to confront America’s political divisions with empathy.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">Film by </span>Andrea Kalin</span></span></span><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">Text by </span>Amy Davidson Sorkin</span></span></span></div></div></div></div></div></div></li><li class="CarouselListItem-bdBeQp fJoUVE"><div class="SummaryItemWrapper-iwvBff kCgGpg summary-item summary-item--has-border summary-item--article summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below summary-item--layout-position-image-left summary-item--layout-proportions-50-50 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard" data-item="{"dangerousHed":"Zooey Zephyr’s Defense of Trans Lives in a Deep-Red State","id":"66fc029ef320b6ec1d7f8238","contentType":"venue","hotelLink":"/culture/the-new-yorker-documentary/zooey-zephyrs-defense-of-trans-lives-in-a-deep-red-state","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb cPpCwE summary-item__image-link summary-item-tracking__image-link" href="/culture/the-new-yorker-documentary/zooey-zephyrs-defense-of-trans-lives-in-a-deep-red-state" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gPGLdl summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz ejJpr"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gPGLdl summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/66fc02ba98066c9bea0cce11/4:3/w_120,c_limit/seat31_gif1.gif 120w, https://media.newyorker.com/photos/66fc02ba98066c9bea0cce11/4:3/w_240,c_limit/seat31_gif1.gif 240w, https://media.newyorker.com/photos/66fc02ba98066c9bea0cce11/4:3/w_320,c_limit/seat31_gif1.gif 320w, https://media.newyorker.com/photos/66fc02ba98066c9bea0cce11/4:3/w_640,c_limit/seat31_gif1.gif 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/66fc02ba98066c9bea0cce11/16:9/w_120,c_limit/seat31_gif1.gif 120w, https://media.newyorker.com/photos/66fc02ba98066c9bea0cce11/16:9/w_240,c_limit/seat31_gif1.gif 240w, https://media.newyorker.com/photos/66fc02ba98066c9bea0cce11/16:9/w_320,c_limit/seat31_gif1.gif 320w, https://media.newyorker.com/photos/66fc02ba98066c9bea0cce11/16:9/w_640,c_limit/seat31_gif1.gif 640w, https://media.newyorker.com/photos/66fc02ba98066c9bea0cce11/16:9/w_960,c_limit/seat31_gif1.gif 960w, https://media.newyorker.com/photos/66fc02ba98066c9bea0cce11/16:9/w_1280,c_limit/seat31_gif1.gif 1280w, https://media.newyorker.com/photos/66fc02ba98066c9bea0cce11/16:9/w_1600,c_limit/seat31_gif1.gif 1600w" sizes="100vw"/><img alt="Zooey Zephyr’s Defense of Trans Lives in a Deep-Red State" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/66fc02ba98066c9bea0cce11/16:9/w_1600%2Cc_limit/seat31_gif1.gif"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dogWHS summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX cXTooZ rubric SummaryItemRubric-dguGKN lapGFj summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">The New Yorker Documentary</span></div></div><a class="SummaryItemHedLink-civMjp dVrbhU summary-item-tracking__hed-link summary-item__hed-link" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/culture/the-new-yorker-documentary/zooey-zephyrs-defense-of-trans-lives-in-a-deep-red-state" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ kTTbYw summary-item__hed" data-testid="SummaryItemHed">Zooey Zephyr’s Defense of Trans Lives in a Deep-Red State</h3></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo ptJEE summary-item__dek">A short documentary goes behind the scenes with the Montana state representative as she fights for trans medical care and makes a momentous decision in her own life.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">Film by </span>Kimberly Reed</span></span></span><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">Text by </span>E. Tammy Kim</span></span></span></div></div></div></div></div></div></li><li class="CarouselListItem-bdBeQp fJoUVE"><div class="SummaryItemWrapper-iwvBff kCgGpg summary-item summary-item--has-border summary-item--article summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below summary-item--layout-position-image-left summary-item--layout-proportions-50-50 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard" data-item="{"dangerousHed":"One Man’s Stand Against Donald Trump’s Election Denialism","id":"66df5111f4221c2edfe65fa5","contentType":"venue","hotelLink":"/culture/the-new-yorker-documentary/one-mans-stand-against-donald-trumps-election-denialism","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb cPpCwE summary-item__image-link summary-item-tracking__image-link" href="/culture/the-new-yorker-documentary/one-mans-stand-against-donald-trumps-election-denialism" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gPGLdl summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz ejJpr"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gPGLdl summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/672a54a73d8ddbe6892136ef/4:3/w_120,c_limit/denial_gif1.gif 120w, https://media.newyorker.com/photos/672a54a73d8ddbe6892136ef/4:3/w_240,c_limit/denial_gif1.gif 240w, https://media.newyorker.com/photos/672a54a73d8ddbe6892136ef/4:3/w_320,c_limit/denial_gif1.gif 320w, https://media.newyorker.com/photos/672a54a73d8ddbe6892136ef/4:3/w_640,c_limit/denial_gif1.gif 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/672a54a73d8ddbe6892136ef/16:9/w_120,c_limit/denial_gif1.gif 120w, https://media.newyorker.com/photos/672a54a73d8ddbe6892136ef/16:9/w_240,c_limit/denial_gif1.gif 240w, https://media.newyorker.com/photos/672a54a73d8ddbe6892136ef/16:9/w_320,c_limit/denial_gif1.gif 320w, https://media.newyorker.com/photos/672a54a73d8ddbe6892136ef/16:9/w_640,c_limit/denial_gif1.gif 640w, https://media.newyorker.com/photos/672a54a73d8ddbe6892136ef/16:9/w_960,c_limit/denial_gif1.gif 960w, https://media.newyorker.com/photos/672a54a73d8ddbe6892136ef/16:9/w_1280,c_limit/denial_gif1.gif 1280w, https://media.newyorker.com/photos/672a54a73d8ddbe6892136ef/16:9/w_1600,c_limit/denial_gif1.gif 1600w" sizes="100vw"/><img alt="One Man’s Stand Against Donald Trump’s Election Denialism" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/672a54a73d8ddbe6892136ef/16:9/w_1600%2Cc_limit/denial_gif1.gif"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dogWHS summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX cXTooZ rubric SummaryItemRubric-dguGKN lapGFj summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">The New Yorker Documentary</span></div></div><a class="SummaryItemHedLink-civMjp dVrbhU summary-item-tracking__hed-link summary-item__hed-link" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/culture/the-new-yorker-documentary/one-mans-stand-against-donald-trumps-election-denialism" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ kTTbYw summary-item__hed" data-testid="SummaryItemHed">One Man’s Stand Against Donald Trump’s Election Denialism</h3></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo ptJEE summary-item__dek">After Trump claimed the 2020 Presidential election was “rigged,” a short documentary shows the effect of election conspiracies in the crucial jurisdiction of Maricopa County, Arizona, through the experience of one elected official.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">Film by </span>Paul Moakley</span> and <span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name">Daniel Lombroso</span></span></span><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">Text by </span>Rachel Monroe</span></span></span></div></div></div></div></div></div></li><li class="CarouselListItem-bdBeQp fJoUVE"><div class="SummaryItemWrapper-iwvBff kCgGpg summary-item summary-item--has-border summary-item--article summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below summary-item--layout-position-image-left summary-item--layout-proportions-50-50 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard" data-item="{"dangerousHed":"“Incident” Shows How Officers React When a Police Killing Is Caught on Tape","id":"66bbc64f043feac6cb9eb7d5","contentType":"venue","hotelLink":"/culture/the-new-yorker-documentary/incident-shows-how-officers-react-when-a-police-killing-is-caught-on-tape","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb cPpCwE summary-item__image-link summary-item-tracking__image-link" href="/culture/the-new-yorker-documentary/incident-shows-how-officers-react-when-a-police-killing-is-caught-on-tape" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gPGLdl summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz ejJpr"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gPGLdl summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/66bbc6652dc3a8a45fe291cf/4:3/w_120,c_limit/Incident_gif3.gif 120w, https://media.newyorker.com/photos/66bbc6652dc3a8a45fe291cf/4:3/w_240,c_limit/Incident_gif3.gif 240w, https://media.newyorker.com/photos/66bbc6652dc3a8a45fe291cf/4:3/w_320,c_limit/Incident_gif3.gif 320w, https://media.newyorker.com/photos/66bbc6652dc3a8a45fe291cf/4:3/w_640,c_limit/Incident_gif3.gif 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/66bbc6652dc3a8a45fe291cf/16:9/w_120,c_limit/Incident_gif3.gif 120w, https://media.newyorker.com/photos/66bbc6652dc3a8a45fe291cf/16:9/w_240,c_limit/Incident_gif3.gif 240w, https://media.newyorker.com/photos/66bbc6652dc3a8a45fe291cf/16:9/w_320,c_limit/Incident_gif3.gif 320w, https://media.newyorker.com/photos/66bbc6652dc3a8a45fe291cf/16:9/w_640,c_limit/Incident_gif3.gif 640w, https://media.newyorker.com/photos/66bbc6652dc3a8a45fe291cf/16:9/w_960,c_limit/Incident_gif3.gif 960w, https://media.newyorker.com/photos/66bbc6652dc3a8a45fe291cf/16:9/w_1280,c_limit/Incident_gif3.gif 1280w, https://media.newyorker.com/photos/66bbc6652dc3a8a45fe291cf/16:9/w_1600,c_limit/Incident_gif3.gif 1600w" sizes="100vw"/><img alt="“Incident” Shows How Officers React When a Police Killing Is Caught on Tape" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/66bbc6652dc3a8a45fe291cf/16:9/w_1600%2Cc_limit/Incident_gif3.gif"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dogWHS summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX cXTooZ rubric SummaryItemRubric-dguGKN lapGFj summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">The New Yorker Documentary</span></div></div><a class="SummaryItemHedLink-civMjp dVrbhU summary-item-tracking__hed-link summary-item__hed-link" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/culture/the-new-yorker-documentary/incident-shows-how-officers-react-when-a-police-killing-is-caught-on-tape" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ kTTbYw summary-item__hed" data-testid="SummaryItemHed">“Incident” Shows How Officers React When a Police Killing Is Caught on Tape</h3></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo ptJEE summary-item__dek">A collection of surveillance and body-camera footage offers a raw look at the 2018 shooting of Harith Augustus, and at the immediate attempts to shape the story.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">Film by </span>Bill Morrison</span></span></span></div></div></div></div></div></div></li><li class="CarouselListItem-bdBeQp cmTkfM"><div class="SummaryItemWrapper-iwvBff kCgGpg summary-item summary-item--has-border summary-item--article summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below summary-item--layout-position-image-left summary-item--layout-proportions-50-50 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard" data-item="{"dangerousHed":"Friendship and Hard Work Amid Italy’s Anti-Immigrant Rhetoric, in “Fratelli Carbonai”","id":"66b4fbfd849e5da1a7ce4951","contentType":"venue","hotelLink":"/culture/the-new-yorker-documentary/friendship-and-hard-work-amid-italys-anti-immigrant-rhetoric-in-fratelli-carbonai","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb cPpCwE summary-item__image-link summary-item-tracking__image-link" href="/culture/the-new-yorker-documentary/friendship-and-hard-work-amid-italys-anti-immigrant-rhetoric-in-fratelli-carbonai" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gPGLdl summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz ejJpr"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gPGLdl summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/66b4fc2ab88b658e30014faa/4:3/w_120,c_limit/CARBONAI_gif1.gif 120w, https://media.newyorker.com/photos/66b4fc2ab88b658e30014faa/4:3/w_240,c_limit/CARBONAI_gif1.gif 240w, https://media.newyorker.com/photos/66b4fc2ab88b658e30014faa/4:3/w_320,c_limit/CARBONAI_gif1.gif 320w, https://media.newyorker.com/photos/66b4fc2ab88b658e30014faa/4:3/w_640,c_limit/CARBONAI_gif1.gif 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/66b4fc2ab88b658e30014faa/16:9/w_120,c_limit/CARBONAI_gif1.gif 120w, 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dogWHS summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX cXTooZ rubric SummaryItemRubric-dguGKN lapGFj summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">The New Yorker Documentary</span></div></div><a class="SummaryItemHedLink-civMjp dVrbhU summary-item-tracking__hed-link summary-item__hed-link" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/culture/the-new-yorker-documentary/friendship-and-hard-work-amid-italys-anti-immigrant-rhetoric-in-fratelli-carbonai" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ kTTbYw summary-item__hed" data-testid="SummaryItemHed">Friendship and Hard Work Amid Italy’s Anti-Immigrant Rhetoric, in “Fratelli Carbonai”</h3></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo ptJEE summary-item__dek">A young man from Mali carves out a life for himself in an ancient trade in the Calabrian mountains, when the nation’s politics take a hard right turn.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">Film by </span>Felix Bazalgette</span> and <span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name">Joshua Hughes</span></span></span></div></div></div></div></div></div></li></ul><div class="CarouselListButton-gXHlUp fQKpa"><button aria-label="Carousel back" 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data-testid="Button" aria-disabled="true" type="button"><span class="ButtonLabel-cjAuJN bBWXSg button__label"></span><div class="ButtonIconWrapper-gFdzAL bPDyTT button__icon-container"><svg class="ButtonIcon-YqaGo iwlhuX button-icon icon icon-chevron" focusable="false" viewBox="0 0 32 32" width="32" height="32" xmlns="http://www.w3.org/2000/svg"><title>Chevron</title><path d="M21.94 16 9.47 3.53l1.06-1.06L24.06 16 10.53 29.53l-1.06-1.06L21.94 16Z" fill-rule="evenodd" clip-rule="evenodd"></path></svg></div></button></div></div></section></div></div><div data-testid="RowWrapper" data-journey-hook="row-content" class="BaseWrap-sc-gjQpdd RowWrapper-UmqTg iUEiRd HEhan MultiPackageBaseRow-gSnwPR MultiPackageRow-cnuYUr knBfzx gDWvUl"><div data-testid="RowWrapper" class="BaseWrap-sc-gjQpdd RowWrapper-UmqTg iUEiRd HEhan CarouselRow-fiKuyQ dKOKVt product__carousel"><section class="CarouselWrapper-hZPzMO hslYFL"><div class="SectionTitleRoot-dBGvdq cFaeFy CarouselSectionTitle-jPysNE dLbgeU" data-testid="SectionTitle"><h2 class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SectionTitleHed-dKqZet dxqEAa hLZrSI gbguXG">The Screening Room</h2></div><p class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryDekDefault-fFxfZs iUEiRd bPjmBc jTDZtf"><em>Fictional short films that spark curiosity.</em> <a href="https://www.newyorker.com/culture/screening-room"><em>See more »</em></a></p><div class="CarouselListWrapper-jQxmFf eowCGc"><ul class="CarouselList-bNvcrU hTeqLf"><li class="CarouselListItem-bdBeQp iHwRlE"><div class="SummaryItemWrapper-iwvBff kCgGpg summary-item summary-item--has-border summary-item--article summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below summary-item--layout-position-image-left summary-item--layout-proportions-50-50 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard" data-item="{"dangerousHed":"The Maddening Disconnect of Phone Therapy in “Happy to Help You,” featuring Amy Sedaris","id":"67cf0e91158191c3613f0e46","contentType":"venue","hotelLink":"/culture/screening-room/the-maddening-disconnect-of-phone-therapy-in-happy-to-help-you-featuring-amy-sedaris","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb cPpCwE summary-item__image-link summary-item-tracking__image-link" href="/culture/screening-room/the-maddening-disconnect-of-phone-therapy-in-happy-to-help-you-featuring-amy-sedaris" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW jvZaPI responsive-asset SummaryItemResponsiveAsset-hjGIGg gPGLdl summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz ejJpr"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gPGLdl summary-item__image responsive-image"><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67d099b51b7b419bfaf04769/4:3/w_120,c_limit/HappyToHelpYou_gif1.gif 120w, https://media.newyorker.com/photos/67d099b51b7b419bfaf04769/4:3/w_240,c_limit/HappyToHelpYou_gif1.gif 240w, https://media.newyorker.com/photos/67d099b51b7b419bfaf04769/4:3/w_320,c_limit/HappyToHelpYou_gif1.gif 320w, https://media.newyorker.com/photos/67d099b51b7b419bfaf04769/4:3/w_640,c_limit/HappyToHelpYou_gif1.gif 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67d099b51b7b419bfaf04769/16:9/w_120,c_limit/HappyToHelpYou_gif1.gif 120w, https://media.newyorker.com/photos/67d099b51b7b419bfaf04769/16:9/w_240,c_limit/HappyToHelpYou_gif1.gif 240w, https://media.newyorker.com/photos/67d099b51b7b419bfaf04769/16:9/w_320,c_limit/HappyToHelpYou_gif1.gif 320w, https://media.newyorker.com/photos/67d099b51b7b419bfaf04769/16:9/w_640,c_limit/HappyToHelpYou_gif1.gif 640w, https://media.newyorker.com/photos/67d099b51b7b419bfaf04769/16:9/w_960,c_limit/HappyToHelpYou_gif1.gif 960w, https://media.newyorker.com/photos/67d099b51b7b419bfaf04769/16:9/w_1280,c_limit/HappyToHelpYou_gif1.gif 1280w, https://media.newyorker.com/photos/67d099b51b7b419bfaf04769/16:9/w_1600,c_limit/HappyToHelpYou_gif1.gif 1600w" sizes="100vw"/><img alt="The Maddening Disconnect of Phone Therapy in “Happy to Help You,” featuring Amy Sedaris" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67d099b51b7b419bfaf04769/16:9/w_1600%2Cc_limit/HappyToHelpYou_gif1.gif"/></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dogWHS summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX cXTooZ rubric SummaryItemRubric-dguGKN lapGFj summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">Screening Room</span></div></div><a class="SummaryItemHedLink-civMjp dVrbhU summary-item-tracking__hed-link summary-item__hed-link" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/culture/screening-room/the-maddening-disconnect-of-phone-therapy-in-happy-to-help-you-featuring-amy-sedaris" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ kTTbYw summary-item__hed" data-testid="SummaryItemHed">The Maddening Disconnect of Phone Therapy in “Happy to Help You,” featuring Amy Sedaris</h3></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo ptJEE summary-item__dek">Jeremy Beiler’s short film follows a mental-health volunteer’s unravelling after a caller gets under his skin.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">Film by </span>Jeremy Beiler</span></span></span></div></div></div></div></div></div></li><li class="CarouselListItem-bdBeQp fJoUVE"><div class="SummaryItemWrapper-iwvBff kCgGpg summary-item summary-item--has-border summary-item--article summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below summary-item--layout-position-image-left summary-item--layout-proportions-50-50 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard" data-item="{"dangerousHed":"A Woman Wonders if She’s Human in “I’m Not a Robot”","id":"673377634d96f90c4487b402","contentType":"venue","hotelLink":"/culture/screening-room/a-woman-wonders-if-shes-human-in-im-not-a-robot","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb cPpCwE summary-item__image-link summary-item-tracking__image-link" href="/culture/screening-room/a-woman-wonders-if-shes-human-in-im-not-a-robot" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW jvZaPI responsive-asset SummaryItemResponsiveAsset-hjGIGg gPGLdl summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz ejJpr"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gPGLdl summary-item__image responsive-image"><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67366e47dd1704e8ccda834d/4:3/w_120,c_limit/I'M%20NOT%20A%20ROBOT%20gif1.gif 120w, https://media.newyorker.com/photos/67366e47dd1704e8ccda834d/4:3/w_240,c_limit/I'M%20NOT%20A%20ROBOT%20gif1.gif 240w, https://media.newyorker.com/photos/67366e47dd1704e8ccda834d/4:3/w_320,c_limit/I'M%20NOT%20A%20ROBOT%20gif1.gif 320w, https://media.newyorker.com/photos/67366e47dd1704e8ccda834d/4:3/w_640,c_limit/I'M%20NOT%20A%20ROBOT%20gif1.gif 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67366e47dd1704e8ccda834d/16:9/w_120,c_limit/I'M%20NOT%20A%20ROBOT%20gif1.gif 120w, https://media.newyorker.com/photos/67366e47dd1704e8ccda834d/16:9/w_240,c_limit/I'M%20NOT%20A%20ROBOT%20gif1.gif 240w, https://media.newyorker.com/photos/67366e47dd1704e8ccda834d/16:9/w_320,c_limit/I'M%20NOT%20A%20ROBOT%20gif1.gif 320w, https://media.newyorker.com/photos/67366e47dd1704e8ccda834d/16:9/w_640,c_limit/I'M%20NOT%20A%20ROBOT%20gif1.gif 640w, https://media.newyorker.com/photos/67366e47dd1704e8ccda834d/16:9/w_960,c_limit/I'M%20NOT%20A%20ROBOT%20gif1.gif 960w, https://media.newyorker.com/photos/67366e47dd1704e8ccda834d/16:9/w_1280,c_limit/I'M%20NOT%20A%20ROBOT%20gif1.gif 1280w, https://media.newyorker.com/photos/67366e47dd1704e8ccda834d/16:9/w_1600,c_limit/I'M%20NOT%20A%20ROBOT%20gif1.gif 1600w" sizes="100vw"/><img alt="A Woman Wonders if She’s Human in “I’m Not a Robot”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67366e47dd1704e8ccda834d/16:9/w_1600%2Cc_limit/I'M%2520NOT%2520A%2520ROBOT%2520gif1.gif"/></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dogWHS summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX cXTooZ rubric SummaryItemRubric-dguGKN lapGFj summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">Screening Room</span></div></div><a class="SummaryItemHedLink-civMjp dVrbhU summary-item-tracking__hed-link summary-item__hed-link" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/culture/screening-room/a-woman-wonders-if-shes-human-in-im-not-a-robot" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ kTTbYw summary-item__hed" data-testid="SummaryItemHed">A Woman Wonders if She’s Human in “I’m Not a Robot”</h3></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo ptJEE summary-item__dek">In Victoria Warmerdam’s short film, a series of failed <em class="small">CAPTCHA</em> tests plunges a woman into a strange new reality.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Victoria Warmerdam</span></span></span></div></div></div></div></div></div></li><li class="CarouselListItem-bdBeQp fJoUVE"><div class="SummaryItemWrapper-iwvBff kCgGpg summary-item summary-item--has-border summary-item--article summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below summary-item--layout-position-image-left summary-item--layout-proportions-50-50 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ejJpr"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gPGLdl summary-item__image responsive-image"><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/66ec8c6fb4bd8a1fbb6b73c4/4:3/w_120,c_limit/Bogota%CC%81%20Story_gif5.gif 120w, https://media.newyorker.com/photos/66ec8c6fb4bd8a1fbb6b73c4/4:3/w_240,c_limit/Bogota%CC%81%20Story_gif5.gif 240w, https://media.newyorker.com/photos/66ec8c6fb4bd8a1fbb6b73c4/4:3/w_320,c_limit/Bogota%CC%81%20Story_gif5.gif 320w, https://media.newyorker.com/photos/66ec8c6fb4bd8a1fbb6b73c4/4:3/w_640,c_limit/Bogota%CC%81%20Story_gif5.gif 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/66ec8c6fb4bd8a1fbb6b73c4/16:9/w_120,c_limit/Bogota%CC%81%20Story_gif5.gif 120w, https://media.newyorker.com/photos/66ec8c6fb4bd8a1fbb6b73c4/16:9/w_240,c_limit/Bogota%CC%81%20Story_gif5.gif 240w, https://media.newyorker.com/photos/66ec8c6fb4bd8a1fbb6b73c4/16:9/w_320,c_limit/Bogota%CC%81%20Story_gif5.gif 320w, https://media.newyorker.com/photos/66ec8c6fb4bd8a1fbb6b73c4/16:9/w_640,c_limit/Bogota%CC%81%20Story_gif5.gif 640w, https://media.newyorker.com/photos/66ec8c6fb4bd8a1fbb6b73c4/16:9/w_960,c_limit/Bogota%CC%81%20Story_gif5.gif 960w, https://media.newyorker.com/photos/66ec8c6fb4bd8a1fbb6b73c4/16:9/w_1280,c_limit/Bogota%CC%81%20Story_gif5.gif 1280w, https://media.newyorker.com/photos/66ec8c6fb4bd8a1fbb6b73c4/16:9/w_1600,c_limit/Bogota%CC%81%20Story_gif5.gif 1600w" sizes="100vw"/><img alt="A Relationship and a Nation in Turmoil in “Bogotá Story”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/66ec8c6fb4bd8a1fbb6b73c4/16:9/w_1600%2Cc_limit/Bogota%25CC%2581%2520Story_gif5.gif"/></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dogWHS summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX cXTooZ rubric SummaryItemRubric-dguGKN lapGFj summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">Screening Room</span></div></div><a class="SummaryItemHedLink-civMjp dVrbhU summary-item-tracking__hed-link summary-item__hed-link" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/culture/screening-room/a-relationship-and-a-nation-in-turmoil-in-bogota-story" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ kTTbYw summary-item__hed" data-testid="SummaryItemHed">A Relationship and a Nation in Turmoil in “Bogotá Story”</h3></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo ptJEE summary-item__dek">Esteban Pedraza’s short film examines the strain a young woman endures when she has to choose between her dreams and her family.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">Film by </span>Esteban Pedraza</span></span></span></div></div></div></div></div></div></li><li class="CarouselListItem-bdBeQp fJoUVE"><div class="SummaryItemWrapper-iwvBff kCgGpg summary-item summary-item--has-border summary-item--article summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below summary-item--layout-position-image-left summary-item--layout-proportions-50-50 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard" data-item="{"dangerousHed":"A Life-or-Death Decision Among Friends, in “Hamster”","id":"6697e0503d12f99b98174397","contentType":"venue","hotelLink":"/culture/screening-room/a-life-or-death-decision-among-friends-in-hamster","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb cPpCwE summary-item__image-link summary-item-tracking__image-link" href="/culture/screening-room/a-life-or-death-decision-among-friends-in-hamster" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW jvZaPI responsive-asset SummaryItemResponsiveAsset-hjGIGg gPGLdl summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz ejJpr"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gPGLdl summary-item__image responsive-image"><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/6698026c3f1b21f20c4885ff/4:3/w_120,c_limit/HAMSTER%20gif2.gif 120w, https://media.newyorker.com/photos/6698026c3f1b21f20c4885ff/4:3/w_240,c_limit/HAMSTER%20gif2.gif 240w, https://media.newyorker.com/photos/6698026c3f1b21f20c4885ff/4:3/w_320,c_limit/HAMSTER%20gif2.gif 320w, https://media.newyorker.com/photos/6698026c3f1b21f20c4885ff/4:3/w_640,c_limit/HAMSTER%20gif2.gif 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/6698026c3f1b21f20c4885ff/16:9/w_120,c_limit/HAMSTER%20gif2.gif 120w, https://media.newyorker.com/photos/6698026c3f1b21f20c4885ff/16:9/w_240,c_limit/HAMSTER%20gif2.gif 240w, https://media.newyorker.com/photos/6698026c3f1b21f20c4885ff/16:9/w_320,c_limit/HAMSTER%20gif2.gif 320w, https://media.newyorker.com/photos/6698026c3f1b21f20c4885ff/16:9/w_640,c_limit/HAMSTER%20gif2.gif 640w, https://media.newyorker.com/photos/6698026c3f1b21f20c4885ff/16:9/w_960,c_limit/HAMSTER%20gif2.gif 960w, https://media.newyorker.com/photos/6698026c3f1b21f20c4885ff/16:9/w_1280,c_limit/HAMSTER%20gif2.gif 1280w, https://media.newyorker.com/photos/6698026c3f1b21f20c4885ff/16:9/w_1600,c_limit/HAMSTER%20gif2.gif 1600w" sizes="100vw"/><img alt="A Life-or-Death Decision Among Friends, in “Hamster”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/6698026c3f1b21f20c4885ff/16:9/w_1600%2Cc_limit/HAMSTER%2520gif2.gif"/></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dogWHS summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX cXTooZ rubric SummaryItemRubric-dguGKN lapGFj summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">Screening Room</span></div></div><a class="SummaryItemHedLink-civMjp dVrbhU summary-item-tracking__hed-link summary-item__hed-link" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/culture/screening-room/a-life-or-death-decision-among-friends-in-hamster" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ kTTbYw summary-item__hed" data-testid="SummaryItemHed">A Life-or-Death Decision Among Friends, in “Hamster”</h3></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo ptJEE summary-item__dek">A tragic accident turns a lighthearted gathering into a moral quandary for a young Iranian couple.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">Film by </span>Fatima Nofely</span></span></span></div></div></div></div></div></div></li><li class="CarouselListItem-bdBeQp fJoUVE"><div class="SummaryItemWrapper-iwvBff kCgGpg summary-item summary-item--has-border summary-item--article summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below summary-item--layout-position-image-left summary-item--layout-proportions-50-50 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard" data-item="{"dangerousHed":"A Father-Daughter Swearing Lesson in “The F-Word”","id":"664ba9dc548b7f25e3444962","contentType":"venue","hotelLink":"/culture/screening-room/a-father-daughter-swearing-lesson-in-the-f-word","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb cPpCwE summary-item__image-link summary-item-tracking__image-link" href="/culture/screening-room/a-father-daughter-swearing-lesson-in-the-f-word" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW jvZaPI responsive-asset SummaryItemResponsiveAsset-hjGIGg gPGLdl summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz ejJpr"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gPGLdl summary-item__image responsive-image"><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/664bb2316eedbffd1eadac75/4:3/w_120,c_limit/_TheFword_gif3.gif 120w, https://media.newyorker.com/photos/664bb2316eedbffd1eadac75/4:3/w_240,c_limit/_TheFword_gif3.gif 240w, https://media.newyorker.com/photos/664bb2316eedbffd1eadac75/4:3/w_320,c_limit/_TheFword_gif3.gif 320w, https://media.newyorker.com/photos/664bb2316eedbffd1eadac75/4:3/w_640,c_limit/_TheFword_gif3.gif 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/664bb2316eedbffd1eadac75/16:9/w_120,c_limit/_TheFword_gif3.gif 120w, https://media.newyorker.com/photos/664bb2316eedbffd1eadac75/16:9/w_240,c_limit/_TheFword_gif3.gif 240w, https://media.newyorker.com/photos/664bb2316eedbffd1eadac75/16:9/w_320,c_limit/_TheFword_gif3.gif 320w, https://media.newyorker.com/photos/664bb2316eedbffd1eadac75/16:9/w_640,c_limit/_TheFword_gif3.gif 640w, https://media.newyorker.com/photos/664bb2316eedbffd1eadac75/16:9/w_960,c_limit/_TheFword_gif3.gif 960w, https://media.newyorker.com/photos/664bb2316eedbffd1eadac75/16:9/w_1280,c_limit/_TheFword_gif3.gif 1280w, https://media.newyorker.com/photos/664bb2316eedbffd1eadac75/16:9/w_1600,c_limit/_TheFword_gif3.gif 1600w" sizes="100vw"/><img alt="A Father-Daughter Swearing Lesson in “The F-Word”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/664bb2316eedbffd1eadac75/16:9/w_1600%2Cc_limit/_TheFword_gif3.gif"/></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dogWHS summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX cXTooZ rubric SummaryItemRubric-dguGKN lapGFj summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">Screening Room</span></div></div><a class="SummaryItemHedLink-civMjp dVrbhU summary-item-tracking__hed-link summary-item__hed-link" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/culture/screening-room/a-father-daughter-swearing-lesson-in-the-f-word" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ kTTbYw summary-item__hed" data-testid="SummaryItemHed">A Father-Daughter Swearing Lesson in “The F-Word”</h3></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo ptJEE summary-item__dek">In Alex Cannon’s comedic short, starring Chris Gethard, a dad struggles to give an age-appropriate explanation of the expletive.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">Film by </span>Alex Cannon</span> and <span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name">Paul Cannon</span></span></span></div></div></div></div></div></div></li><li class="CarouselListItem-bdBeQp fJoUVE"><div class="SummaryItemWrapper-iwvBff kCgGpg summary-item summary-item--has-border summary-item--article summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below summary-item--layout-position-image-left summary-item--layout-proportions-50-50 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard" data-item="{"dangerousHed":"Flirtation and Confrontation in “Sparring Partner”","id":"661d50405cc8dd285ddf231c","contentType":"venue","hotelLink":"/culture/screening-room/flirtation-and-confrontation-in-sparring-partner","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb cPpCwE summary-item__image-link summary-item-tracking__image-link" href="/culture/screening-room/flirtation-and-confrontation-in-sparring-partner" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gPGLdl summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz ejJpr"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gPGLdl summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/66267e9ae892b815632cb81a/4:3/w_120,c_limit/Sparring%20Partner_gif2.gif 120w, https://media.newyorker.com/photos/66267e9ae892b815632cb81a/4:3/w_240,c_limit/Sparring%20Partner_gif2.gif 240w, https://media.newyorker.com/photos/66267e9ae892b815632cb81a/4:3/w_320,c_limit/Sparring%20Partner_gif2.gif 320w, https://media.newyorker.com/photos/66267e9ae892b815632cb81a/4:3/w_640,c_limit/Sparring%20Partner_gif2.gif 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/66267e9ae892b815632cb81a/16:9/w_120,c_limit/Sparring%20Partner_gif2.gif 120w, https://media.newyorker.com/photos/66267e9ae892b815632cb81a/16:9/w_240,c_limit/Sparring%20Partner_gif2.gif 240w, https://media.newyorker.com/photos/66267e9ae892b815632cb81a/16:9/w_320,c_limit/Sparring%20Partner_gif2.gif 320w, https://media.newyorker.com/photos/66267e9ae892b815632cb81a/16:9/w_640,c_limit/Sparring%20Partner_gif2.gif 640w, https://media.newyorker.com/photos/66267e9ae892b815632cb81a/16:9/w_960,c_limit/Sparring%20Partner_gif2.gif 960w, https://media.newyorker.com/photos/66267e9ae892b815632cb81a/16:9/w_1280,c_limit/Sparring%20Partner_gif2.gif 1280w, https://media.newyorker.com/photos/66267e9ae892b815632cb81a/16:9/w_1600,c_limit/Sparring%20Partner_gif2.gif 1600w" sizes="100vw"/><img alt="Flirtation and Confrontation in “Sparring Partner”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/66267e9ae892b815632cb81a/16:9/w_1600%2Cc_limit/Sparring%2520Partner_gif2.gif"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dogWHS summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX cXTooZ rubric SummaryItemRubric-dguGKN lapGFj summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">Screening Room</span></div></div><a class="SummaryItemHedLink-civMjp dVrbhU summary-item-tracking__hed-link summary-item__hed-link" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/culture/screening-room/flirtation-and-confrontation-in-sparring-partner" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ kTTbYw summary-item__hed" data-testid="SummaryItemHed">Flirtation and Confrontation in “Sparring Partner”</h3></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo ptJEE summary-item__dek">In J. J. Kandel’s short film, the lunch-break banter of a flirtatious pair of co-workers, played by Cecily Strong and KeiLyn Durrel Jones, gives way to uncomfortable revelations.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">Film by </span>J. J. Kandel</span></span></span><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">Text by </span>Lauren Elyse Garcia</span></span></span></div></div></div></div></div></div></li><li class="CarouselListItem-bdBeQp fJoUVE"><div class="SummaryItemWrapper-iwvBff kCgGpg summary-item summary-item--has-border summary-item--article summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below summary-item--layout-position-image-left summary-item--layout-proportions-50-50 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard" data-item="{"dangerousHed":"A Family Reunion with High Jinks and Catharsis in “Cousins”","id":"64c2896e99c75b29bf384cc9","contentType":"venue","hotelLink":"/culture/screening-room/a-family-reunion-with-high-jinks-and-catharsis-in-cousins","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb cPpCwE summary-item__image-link summary-item-tracking__image-link" href="/culture/screening-room/a-family-reunion-with-high-jinks-and-catharsis-in-cousins" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gPGLdl summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz ejJpr"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gPGLdl summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/65c3d92e2d47f83f78ab779b/4:3/w_120,c_limit/cousins_gif1.gif 120w, https://media.newyorker.com/photos/65c3d92e2d47f83f78ab779b/4:3/w_240,c_limit/cousins_gif1.gif 240w, https://media.newyorker.com/photos/65c3d92e2d47f83f78ab779b/4:3/w_320,c_limit/cousins_gif1.gif 320w, https://media.newyorker.com/photos/65c3d92e2d47f83f78ab779b/4:3/w_640,c_limit/cousins_gif1.gif 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/65c3d92e2d47f83f78ab779b/16:9/w_120,c_limit/cousins_gif1.gif 120w, https://media.newyorker.com/photos/65c3d92e2d47f83f78ab779b/16:9/w_240,c_limit/cousins_gif1.gif 240w, https://media.newyorker.com/photos/65c3d92e2d47f83f78ab779b/16:9/w_320,c_limit/cousins_gif1.gif 320w, https://media.newyorker.com/photos/65c3d92e2d47f83f78ab779b/16:9/w_640,c_limit/cousins_gif1.gif 640w, https://media.newyorker.com/photos/65c3d92e2d47f83f78ab779b/16:9/w_960,c_limit/cousins_gif1.gif 960w, https://media.newyorker.com/photos/65c3d92e2d47f83f78ab779b/16:9/w_1280,c_limit/cousins_gif1.gif 1280w, https://media.newyorker.com/photos/65c3d92e2d47f83f78ab779b/16:9/w_1600,c_limit/cousins_gif1.gif 1600w" sizes="100vw"/><img alt="A Family Reunion with High Jinks and Catharsis in “Cousins”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/65c3d92e2d47f83f78ab779b/16:9/w_1600%2Cc_limit/cousins_gif1.gif"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dogWHS summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX cXTooZ rubric SummaryItemRubric-dguGKN lapGFj summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">Screening Room</span></div></div><a class="SummaryItemHedLink-civMjp dVrbhU summary-item-tracking__hed-link summary-item__hed-link" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/culture/screening-room/a-family-reunion-with-high-jinks-and-catharsis-in-cousins" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ kTTbYw summary-item__hed" data-testid="SummaryItemHed">A Family Reunion with High Jinks and Catharsis in “Cousins”</h3></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo ptJEE summary-item__dek">In Karina Dandashi’s short film, a night out shortens the distance between two cousins.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">Produced by </span>Aya Hamdan</span></span></span><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">Film by </span>Karina Dandashi</span></span></span><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">Text by </span>Maggie Sheldon</span></span></span></div></div></div></div></div></div></li><li class="CarouselListItem-bdBeQp fJoUVE"><div class="SummaryItemWrapper-iwvBff kCgGpg summary-item summary-item--has-border summary-item--article summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below summary-item--layout-position-image-left summary-item--layout-proportions-50-50 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard" data-item="{"dangerousHed":"Richard Kind on Making a Short Film About Making a Short Film","id":"65b3f8df35cf775ef8ebbe9b","contentType":"venue","hotelLink":"/culture/screening-room/richard-kind-on-making-a-short-film-about-making-a-short-film","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb cPpCwE summary-item__image-link summary-item-tracking__image-link" href="/culture/screening-room/richard-kind-on-making-a-short-film-about-making-a-short-film" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gPGLdl summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz ejJpr"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gPGLdl summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/65b4123dfc7304eaa689aa6e/4:3/w_120,c_limit/ProofofConcept_thumb4.jpg 120w, https://media.newyorker.com/photos/65b4123dfc7304eaa689aa6e/4:3/w_240,c_limit/ProofofConcept_thumb4.jpg 240w, https://media.newyorker.com/photos/65b4123dfc7304eaa689aa6e/4:3/w_320,c_limit/ProofofConcept_thumb4.jpg 320w, https://media.newyorker.com/photos/65b4123dfc7304eaa689aa6e/4:3/w_640,c_limit/ProofofConcept_thumb4.jpg 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/65b4123dfc7304eaa689aa6e/16:9/w_120,c_limit/ProofofConcept_thumb4.jpg 120w, https://media.newyorker.com/photos/65b4123dfc7304eaa689aa6e/16:9/w_240,c_limit/ProofofConcept_thumb4.jpg 240w, https://media.newyorker.com/photos/65b4123dfc7304eaa689aa6e/16:9/w_320,c_limit/ProofofConcept_thumb4.jpg 320w, https://media.newyorker.com/photos/65b4123dfc7304eaa689aa6e/16:9/w_640,c_limit/ProofofConcept_thumb4.jpg 640w, https://media.newyorker.com/photos/65b4123dfc7304eaa689aa6e/16:9/w_960,c_limit/ProofofConcept_thumb4.jpg 960w, https://media.newyorker.com/photos/65b4123dfc7304eaa689aa6e/16:9/w_1280,c_limit/ProofofConcept_thumb4.jpg 1280w, https://media.newyorker.com/photos/65b4123dfc7304eaa689aa6e/16:9/w_1600,c_limit/ProofofConcept_thumb4.jpg 1600w" sizes="100vw"/><img alt="Richard Kind on Making a Short Film About Making a Short Film" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/65b4123dfc7304eaa689aa6e/16:9/w_1600%2Cc_limit/ProofofConcept_thumb4.jpg"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dogWHS summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX cXTooZ rubric SummaryItemRubric-dguGKN lapGFj summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">Screening Room</span></div></div><a class="SummaryItemHedLink-civMjp dVrbhU summary-item-tracking__hed-link summary-item__hed-link" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/culture/screening-room/richard-kind-on-making-a-short-film-about-making-a-short-film" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ kTTbYw summary-item__hed" data-testid="SummaryItemHed">Richard Kind on Making a Short Film About Making a Short Film</h3></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo ptJEE summary-item__dek">Max Cohn and Ellie Sachs’s short film, “Proof of Concept,” offers a humorous meta-riff on the movie business and a tour of the Upper West Side.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">Film by </span>Max Cohn</span> and <span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name">Ellie Sachs</span></span></span><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">Text by </span>Naomi Fry</span></span></span></div></div></div></div></div></div></li><li class="CarouselListItem-bdBeQp fJoUVE"><div class="SummaryItemWrapper-iwvBff kCgGpg summary-item summary-item--has-border summary-item--article summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below summary-item--layout-position-image-left summary-item--layout-proportions-50-50 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard" data-item="{"dangerousHed":"Coming of Age While Confronting Arab Stereotypes, in “Simo”","id":"64d670d9a209fde1c187828b","contentType":"venue","hotelLink":"/culture/screening-room/coming-of-age-while-confronting-arab-stereotypes-in-simo","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb cPpCwE summary-item__image-link summary-item-tracking__image-link" href="/culture/screening-room/coming-of-age-while-confronting-arab-stereotypes-in-simo" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gPGLdl summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz ejJpr"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gPGLdl summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/657c70ef215627d506f8b8e6/4:3/w_120,c_limit/simo_gif2.gif 120w, https://media.newyorker.com/photos/657c70ef215627d506f8b8e6/4:3/w_240,c_limit/simo_gif2.gif 240w, https://media.newyorker.com/photos/657c70ef215627d506f8b8e6/4:3/w_320,c_limit/simo_gif2.gif 320w, https://media.newyorker.com/photos/657c70ef215627d506f8b8e6/4:3/w_640,c_limit/simo_gif2.gif 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/657c70ef215627d506f8b8e6/16:9/w_120,c_limit/simo_gif2.gif 120w, https://media.newyorker.com/photos/657c70ef215627d506f8b8e6/16:9/w_240,c_limit/simo_gif2.gif 240w, https://media.newyorker.com/photos/657c70ef215627d506f8b8e6/16:9/w_320,c_limit/simo_gif2.gif 320w, https://media.newyorker.com/photos/657c70ef215627d506f8b8e6/16:9/w_640,c_limit/simo_gif2.gif 640w, https://media.newyorker.com/photos/657c70ef215627d506f8b8e6/16:9/w_960,c_limit/simo_gif2.gif 960w, https://media.newyorker.com/photos/657c70ef215627d506f8b8e6/16:9/w_1280,c_limit/simo_gif2.gif 1280w, https://media.newyorker.com/photos/657c70ef215627d506f8b8e6/16:9/w_1600,c_limit/simo_gif2.gif 1600w" sizes="100vw"/><img alt="Coming of Age While Confronting Arab Stereotypes, in “Simo”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/657c70ef215627d506f8b8e6/16:9/w_1600%2Cc_limit/simo_gif2.gif"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dogWHS summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX cXTooZ rubric SummaryItemRubric-dguGKN lapGFj summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">Screening Room</span></div></div><a class="SummaryItemHedLink-civMjp dVrbhU summary-item-tracking__hed-link summary-item__hed-link" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/culture/screening-room/coming-of-age-while-confronting-arab-stereotypes-in-simo" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ kTTbYw summary-item__hed" data-testid="SummaryItemHed">Coming of Age While Confronting Arab Stereotypes, in “Simo”</h3></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo ptJEE summary-item__dek">An Egyptian teen-ager, living in the suburbs of Montreal with his brother and father, confronts the sting of racism at home, in the writer and director Aziz Zoromba’s film “Simo.”</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">Film by </span>Aziz Zoromba</span></span></span><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">Text by </span>Paul Moakley</span></span></span></div></div></div></div></div></div></li><li class="CarouselListItem-bdBeQp fJoUVE"><div class="SummaryItemWrapper-iwvBff kCgGpg summary-item summary-item--has-border summary-item--article summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below summary-item--layout-position-image-left summary-item--layout-proportions-50-50 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard" data-item="{"dangerousHed":"Grief and Comedy Come Together in “Knight of Fortune”","id":"654d1d1bea5de3639efc269d","contentType":"venue","hotelLink":"/culture/screening-room/grief-and-comedy-come-together-in-knight-of-fortune","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb cPpCwE summary-item__image-link summary-item-tracking__image-link" href="/culture/screening-room/grief-and-comedy-come-together-in-knight-of-fortune" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gPGLdl summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz ejJpr"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gPGLdl summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/65562ab50ce38a9b9c5bdad3/4:3/w_120,c_limit/KnightOfFortune_gif3.gif 120w, https://media.newyorker.com/photos/65562ab50ce38a9b9c5bdad3/4:3/w_240,c_limit/KnightOfFortune_gif3.gif 240w, https://media.newyorker.com/photos/65562ab50ce38a9b9c5bdad3/4:3/w_320,c_limit/KnightOfFortune_gif3.gif 320w, https://media.newyorker.com/photos/65562ab50ce38a9b9c5bdad3/4:3/w_640,c_limit/KnightOfFortune_gif3.gif 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/65562ab50ce38a9b9c5bdad3/16:9/w_120,c_limit/KnightOfFortune_gif3.gif 120w, https://media.newyorker.com/photos/65562ab50ce38a9b9c5bdad3/16:9/w_240,c_limit/KnightOfFortune_gif3.gif 240w, https://media.newyorker.com/photos/65562ab50ce38a9b9c5bdad3/16:9/w_320,c_limit/KnightOfFortune_gif3.gif 320w, https://media.newyorker.com/photos/65562ab50ce38a9b9c5bdad3/16:9/w_640,c_limit/KnightOfFortune_gif3.gif 640w, https://media.newyorker.com/photos/65562ab50ce38a9b9c5bdad3/16:9/w_960,c_limit/KnightOfFortune_gif3.gif 960w, https://media.newyorker.com/photos/65562ab50ce38a9b9c5bdad3/16:9/w_1280,c_limit/KnightOfFortune_gif3.gif 1280w, https://media.newyorker.com/photos/65562ab50ce38a9b9c5bdad3/16:9/w_1600,c_limit/KnightOfFortune_gif3.gif 1600w" sizes="100vw"/><img alt="Grief and Comedy Come Together in “Knight of Fortune”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/65562ab50ce38a9b9c5bdad3/16:9/w_1600%2Cc_limit/KnightOfFortune_gif3.gif"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dogWHS summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX cXTooZ rubric SummaryItemRubric-dguGKN lapGFj summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">Screening Room</span></div></div><a class="SummaryItemHedLink-civMjp dVrbhU summary-item-tracking__hed-link summary-item__hed-link" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/culture/screening-room/grief-and-comedy-come-together-in-knight-of-fortune" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ kTTbYw summary-item__hed" data-testid="SummaryItemHed">Grief and Comedy Come Together in “Knight of Fortune”</h3></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo ptJEE summary-item__dek">In Lasse Lyskjær Noer’s short film, two widowers lean on each other for emotional support.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">Film by </span>Lasse Lyskjær Noer</span></span></span><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">Text by </span>Eric Nelson</span></span></span></div></div></div></div></div></div></li><li class="CarouselListItem-bdBeQp fJoUVE"><div class="SummaryItemWrapper-iwvBff kCgGpg summary-item summary-item--has-border summary-item--article summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below summary-item--layout-position-image-left summary-item--layout-proportions-50-50 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard" data-item="{"dangerousHed":"A Murdered Israeli Filmmaker’s Prophetic Warning, in “The Boy”","id":"652eb94cf45a3e98c312b243","contentType":"venue","hotelLink":"/culture/screening-room/a-murdered-israeli-filmmakers-prophetic-warning-in-the-boy","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb cPpCwE summary-item__image-link summary-item-tracking__image-link" href="/culture/screening-room/a-murdered-israeli-filmmakers-prophetic-warning-in-the-boy" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gPGLdl summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz ejJpr"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gPGLdl summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/653ae77cdb51a626a0860a2d/4:3/w_120,c_limit/THE%20BOY_GIF_4.gif 120w, https://media.newyorker.com/photos/653ae77cdb51a626a0860a2d/4:3/w_240,c_limit/THE%20BOY_GIF_4.gif 240w, https://media.newyorker.com/photos/653ae77cdb51a626a0860a2d/4:3/w_320,c_limit/THE%20BOY_GIF_4.gif 320w, https://media.newyorker.com/photos/653ae77cdb51a626a0860a2d/4:3/w_640,c_limit/THE%20BOY_GIF_4.gif 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/653ae77cdb51a626a0860a2d/16:9/w_120,c_limit/THE%20BOY_GIF_4.gif 120w, https://media.newyorker.com/photos/653ae77cdb51a626a0860a2d/16:9/w_240,c_limit/THE%20BOY_GIF_4.gif 240w, https://media.newyorker.com/photos/653ae77cdb51a626a0860a2d/16:9/w_320,c_limit/THE%20BOY_GIF_4.gif 320w, https://media.newyorker.com/photos/653ae77cdb51a626a0860a2d/16:9/w_640,c_limit/THE%20BOY_GIF_4.gif 640w, https://media.newyorker.com/photos/653ae77cdb51a626a0860a2d/16:9/w_960,c_limit/THE%20BOY_GIF_4.gif 960w, https://media.newyorker.com/photos/653ae77cdb51a626a0860a2d/16:9/w_1280,c_limit/THE%20BOY_GIF_4.gif 1280w, https://media.newyorker.com/photos/653ae77cdb51a626a0860a2d/16:9/w_1600,c_limit/THE%20BOY_GIF_4.gif 1600w" sizes="100vw"/><img alt="A Murdered Israeli Filmmaker’s Prophetic Warning, in “The Boy”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/653ae77cdb51a626a0860a2d/16:9/w_1600%2Cc_limit/THE%2520BOY_GIF_4.gif"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dogWHS summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX cXTooZ rubric SummaryItemRubric-dguGKN lapGFj summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">Screening Room</span></div></div><a class="SummaryItemHedLink-civMjp dVrbhU summary-item-tracking__hed-link summary-item__hed-link" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/culture/screening-room/a-murdered-israeli-filmmakers-prophetic-warning-in-the-boy" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ kTTbYw summary-item__hed" data-testid="SummaryItemHed">A Murdered Israeli Filmmaker’s Prophetic Warning, in “The Boy”</h3></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo ptJEE summary-item__dek">Yahav Winner’s final work captures the dissonance of life along the Israel-Gaza border.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">Film by </span>Yahav Winner</span></span></span><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">Text by </span>Daniel Lombroso</span></span></span></div></div></div></div></div></div></li><li class="CarouselListItem-bdBeQp fJoUVE"><div class="SummaryItemWrapper-iwvBff kCgGpg summary-item summary-item--has-border summary-item--article summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below summary-item--layout-position-image-left summary-item--layout-proportions-50-50 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard" data-item="{"dangerousHed":"Class, Care, and Transitions in “Nauha”","id":"652eb976f45a3e98c312b244","contentType":"venue","hotelLink":"/culture/screening-room/class-care-and-transitions-in-nauha","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb cPpCwE summary-item__image-link summary-item-tracking__image-link" href="/culture/screening-room/class-care-and-transitions-in-nauha" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gPGLdl summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz ejJpr"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gPGLdl summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/6531ba4992ac4563f7ab34c6/4:3/w_120,c_limit/_NAUHA_gif2.gif 120w, https://media.newyorker.com/photos/6531ba4992ac4563f7ab34c6/4:3/w_240,c_limit/_NAUHA_gif2.gif 240w, https://media.newyorker.com/photos/6531ba4992ac4563f7ab34c6/4:3/w_320,c_limit/_NAUHA_gif2.gif 320w, https://media.newyorker.com/photos/6531ba4992ac4563f7ab34c6/4:3/w_640,c_limit/_NAUHA_gif2.gif 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/6531ba4992ac4563f7ab34c6/16:9/w_120,c_limit/_NAUHA_gif2.gif 120w, https://media.newyorker.com/photos/6531ba4992ac4563f7ab34c6/16:9/w_240,c_limit/_NAUHA_gif2.gif 240w, https://media.newyorker.com/photos/6531ba4992ac4563f7ab34c6/16:9/w_320,c_limit/_NAUHA_gif2.gif 320w, https://media.newyorker.com/photos/6531ba4992ac4563f7ab34c6/16:9/w_640,c_limit/_NAUHA_gif2.gif 640w, https://media.newyorker.com/photos/6531ba4992ac4563f7ab34c6/16:9/w_960,c_limit/_NAUHA_gif2.gif 960w, https://media.newyorker.com/photos/6531ba4992ac4563f7ab34c6/16:9/w_1280,c_limit/_NAUHA_gif2.gif 1280w, https://media.newyorker.com/photos/6531ba4992ac4563f7ab34c6/16:9/w_1600,c_limit/_NAUHA_gif2.gif 1600w" sizes="100vw"/><img alt="Class, Care, and Transitions in “Nauha”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/6531ba4992ac4563f7ab34c6/16:9/w_1600%2Cc_limit/_NAUHA_gif2.gif"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dogWHS summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX cXTooZ rubric SummaryItemRubric-dguGKN lapGFj summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">Screening Room</span></div></div><a class="SummaryItemHedLink-civMjp dVrbhU summary-item-tracking__hed-link summary-item__hed-link" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/culture/screening-room/class-care-and-transitions-in-nauha" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ kTTbYw summary-item__hed" data-testid="SummaryItemHed">Class, Care, and Transitions in “Nauha”</h3></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo ptJEE summary-item__dek">In Pratham Khurana’s short film, about a young man working as a home health aide, resentment and tenderness exist side by side.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">Film by </span>Pratham Khurana</span></span></span><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">Text by </span>Eric Nelson</span></span></span></div></div></div></div></div></div></li><li class="CarouselListItem-bdBeQp fJoUVE"><div class="SummaryItemWrapper-iwvBff kCgGpg summary-item summary-item--has-border summary-item--article summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below summary-item--layout-position-image-left summary-item--layout-proportions-50-50 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard" data-item="{"dangerousHed":"In “Troy,” Loud Sex, Thin Walls, Curious Neighbors","id":"650ddfeb85cd9f8a7e75de25","contentType":"venue","hotelLink":"/culture/screening-room/in-troy-loud-sex-thin-walls-curious-neighbors","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb cPpCwE summary-item__image-link summary-item-tracking__image-link" href="/culture/screening-room/in-troy-loud-sex-thin-walls-curious-neighbors" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gPGLdl summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz ejJpr"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gPGLdl summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/6515a39d07084e4e24f0aedc/4:3/w_120,c_limit/TROY_GIF_4.gif 120w, https://media.newyorker.com/photos/6515a39d07084e4e24f0aedc/4:3/w_240,c_limit/TROY_GIF_4.gif 240w, https://media.newyorker.com/photos/6515a39d07084e4e24f0aedc/4:3/w_320,c_limit/TROY_GIF_4.gif 320w, https://media.newyorker.com/photos/6515a39d07084e4e24f0aedc/4:3/w_640,c_limit/TROY_GIF_4.gif 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/6515a39d07084e4e24f0aedc/16:9/w_120,c_limit/TROY_GIF_4.gif 120w, https://media.newyorker.com/photos/6515a39d07084e4e24f0aedc/16:9/w_240,c_limit/TROY_GIF_4.gif 240w, https://media.newyorker.com/photos/6515a39d07084e4e24f0aedc/16:9/w_320,c_limit/TROY_GIF_4.gif 320w, https://media.newyorker.com/photos/6515a39d07084e4e24f0aedc/16:9/w_640,c_limit/TROY_GIF_4.gif 640w, https://media.newyorker.com/photos/6515a39d07084e4e24f0aedc/16:9/w_960,c_limit/TROY_GIF_4.gif 960w, https://media.newyorker.com/photos/6515a39d07084e4e24f0aedc/16:9/w_1280,c_limit/TROY_GIF_4.gif 1280w, https://media.newyorker.com/photos/6515a39d07084e4e24f0aedc/16:9/w_1600,c_limit/TROY_GIF_4.gif 1600w" sizes="100vw"/><img alt="In “Troy,” Loud Sex, Thin Walls, Curious Neighbors" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/6515a39d07084e4e24f0aedc/16:9/w_1600%2Cc_limit/TROY_GIF_4.gif"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dogWHS summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX cXTooZ rubric SummaryItemRubric-dguGKN lapGFj summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">Screening Room</span></div></div><a class="SummaryItemHedLink-civMjp dVrbhU summary-item-tracking__hed-link summary-item__hed-link" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/culture/screening-room/in-troy-loud-sex-thin-walls-curious-neighbors" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ kTTbYw summary-item__hed" data-testid="SummaryItemHed">In “Troy,” Loud Sex, Thin Walls, Curious Neighbors</h3></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo ptJEE summary-item__dek">Mike Donahue’s funny and touching short film depicts a New York City couple and their very sexually active neighbor.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">Film by </span>Mike Donahue</span></span></span><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">Text by </span>Douglas Watson</span></span></span></div></div></div></div></div></div></li><li class="CarouselListItem-bdBeQp fJoUVE"><div class="SummaryItemWrapper-iwvBff kCgGpg summary-item summary-item--has-border summary-item--article summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below summary-item--layout-position-image-left summary-item--layout-proportions-50-50 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard" data-item="{"dangerousHed":"Inner Turmoil Meets Atmospheric Turbulence in “AIRHOSTESS-737”","id":"64d670ca901381cd3728c293","contentType":"venue","hotelLink":"/culture/screening-room/inner-turmoil-meets-atmospheric-turbulence-in-airhostess-737","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb cPpCwE summary-item__image-link summary-item-tracking__image-link" href="/culture/screening-room/inner-turmoil-meets-atmospheric-turbulence-in-airhostess-737" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gPGLdl summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz ejJpr"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gPGLdl summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/64e511b7c5bd6d1417739e52/4:3/w_120,c_limit/airhostess_gif5.gif 120w, https://media.newyorker.com/photos/64e511b7c5bd6d1417739e52/4:3/w_240,c_limit/airhostess_gif5.gif 240w, https://media.newyorker.com/photos/64e511b7c5bd6d1417739e52/4:3/w_320,c_limit/airhostess_gif5.gif 320w, https://media.newyorker.com/photos/64e511b7c5bd6d1417739e52/4:3/w_640,c_limit/airhostess_gif5.gif 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/64e511b7c5bd6d1417739e52/16:9/w_120,c_limit/airhostess_gif5.gif 120w, https://media.newyorker.com/photos/64e511b7c5bd6d1417739e52/16:9/w_240,c_limit/airhostess_gif5.gif 240w, https://media.newyorker.com/photos/64e511b7c5bd6d1417739e52/16:9/w_320,c_limit/airhostess_gif5.gif 320w, https://media.newyorker.com/photos/64e511b7c5bd6d1417739e52/16:9/w_640,c_limit/airhostess_gif5.gif 640w, https://media.newyorker.com/photos/64e511b7c5bd6d1417739e52/16:9/w_960,c_limit/airhostess_gif5.gif 960w, https://media.newyorker.com/photos/64e511b7c5bd6d1417739e52/16:9/w_1280,c_limit/airhostess_gif5.gif 1280w, https://media.newyorker.com/photos/64e511b7c5bd6d1417739e52/16:9/w_1600,c_limit/airhostess_gif5.gif 1600w" sizes="100vw"/><img alt="Inner Turmoil Meets Atmospheric Turbulence in “AIRHOSTESS-737”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/64e511b7c5bd6d1417739e52/16:9/w_1600%2Cc_limit/airhostess_gif5.gif"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dogWHS summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX cXTooZ rubric SummaryItemRubric-dguGKN lapGFj summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">Screening Room</span></div></div><a class="SummaryItemHedLink-civMjp dVrbhU summary-item-tracking__hed-link summary-item__hed-link" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/culture/screening-room/inner-turmoil-meets-atmospheric-turbulence-in-airhostess-737" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ kTTbYw summary-item__hed" data-testid="SummaryItemHed">Inner Turmoil Meets Atmospheric Turbulence in “AIRHOSTESS-737”</h3></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo ptJEE summary-item__dek">A flight attendant tries to conceal physical and emotional pain with a coat of bright-red lipstick, in Thanasis Neofotistos’s short film.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">Film by </span>Thanasis Neofotistos</span></span></span><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">Text by </span>Hannah Aizenman</span></span></span></div></div></div></div></div></div></li><li class="CarouselListItem-bdBeQp cmTkfM"><div class="SummaryItemWrapper-iwvBff kCgGpg summary-item summary-item--has-border summary-item--article summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below summary-item--layout-position-image-left summary-item--layout-proportions-50-50 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard" data-item="{"dangerousHed":"The Temptations of A.I. Companionship in “Rachels Don’t Run”","id":"64c289a07ac8745598306776","contentType":"venue","hotelLink":"/culture/screening-room/the-temptations-of-ai-companionship-in-rachels-dont-run","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb cPpCwE summary-item__image-link summary-item-tracking__image-link" href="/culture/screening-room/the-temptations-of-ai-companionship-in-rachels-dont-run" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gPGLdl summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz ejJpr"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gPGLdl summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/64c98a9c080321762d5d35bd/4:3/w_120,c_limit/_rachels%20gif4.gif 120w, https://media.newyorker.com/photos/64c98a9c080321762d5d35bd/4:3/w_240,c_limit/_rachels%20gif4.gif 240w, https://media.newyorker.com/photos/64c98a9c080321762d5d35bd/4:3/w_320,c_limit/_rachels%20gif4.gif 320w, https://media.newyorker.com/photos/64c98a9c080321762d5d35bd/4:3/w_640,c_limit/_rachels%20gif4.gif 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/64c98a9c080321762d5d35bd/16:9/w_120,c_limit/_rachels%20gif4.gif 120w, https://media.newyorker.com/photos/64c98a9c080321762d5d35bd/16:9/w_240,c_limit/_rachels%20gif4.gif 240w, https://media.newyorker.com/photos/64c98a9c080321762d5d35bd/16:9/w_320,c_limit/_rachels%20gif4.gif 320w, https://media.newyorker.com/photos/64c98a9c080321762d5d35bd/16:9/w_640,c_limit/_rachels%20gif4.gif 640w, https://media.newyorker.com/photos/64c98a9c080321762d5d35bd/16:9/w_960,c_limit/_rachels%20gif4.gif 960w, https://media.newyorker.com/photos/64c98a9c080321762d5d35bd/16:9/w_1280,c_limit/_rachels%20gif4.gif 1280w, https://media.newyorker.com/photos/64c98a9c080321762d5d35bd/16:9/w_1600,c_limit/_rachels%20gif4.gif 1600w" sizes="100vw"/><img alt="The Temptations of A.I. Companionship in “Rachels Don’t Run”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/64c98a9c080321762d5d35bd/16:9/w_1600%2Cc_limit/_rachels%2520gif4.gif"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dogWHS summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX cXTooZ rubric SummaryItemRubric-dguGKN lapGFj summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">Screening Room</span></div></div><a class="SummaryItemHedLink-civMjp dVrbhU summary-item-tracking__hed-link summary-item__hed-link" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/culture/screening-room/the-temptations-of-ai-companionship-in-rachels-dont-run" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ kTTbYw summary-item__hed" data-testid="SummaryItemHed">The Temptations of A.I. Companionship in “Rachels Don’t Run”</h3></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo ptJEE summary-item__dek">In Joanny Causse’s short film, a call-center operator inserts herself into the relationship between a client and his A.I. girlfriend.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">Film by </span>Joanny Causse</span></span></span><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">Text by </span>Noreen Plabutong</span></span></span></div></div></div></div></div></div></li></ul><div class="CarouselListButton-gXHlUp fQKpa"><button aria-label="Carousel back" class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv gyKfPI button button--utility CarouselControlButton-jSdLBg kMEMnT carousel-control-button--back" data-event-click="{"element":"Button"}" data-testid="Button" aria-disabled="true" type="button"><span class="ButtonLabel-cjAuJN bBWXSg button__label"></span><div class="ButtonIconWrapper-gFdzAL bPDyTT button__icon-container"><svg 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9.47 3.53l1.06-1.06L24.06 16 10.53 29.53l-1.06-1.06L21.94 16Z" fill-rule="evenodd" clip-rule="evenodd"></path></svg></div></button></div></div></section></div></div><div data-journey-hook="row-content" class="ad-container ad-container-reduced-margin"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-content should-hold-space"><div class="ad__slot ad__slot--mid-content" data-node-id="tgvf0b"></div></div></div><div><div data-testid="RowWrapper" id="more-videos" data-journey-hook="row-content" class="BaseWrap-sc-gjQpdd RowWrapper-UmqTg iUEiRd HEhan MultiPackageBaseRow-gSnwPR MultiPackageRow-cnuYUr knBfzx fWtCBN"><div class="SummaryRiverWrapper-cPyVqg cjXdnq summary-river-verso-channel" data-testid="SummaryRiverWrapper"><section data-testid="SummaryRiverSection" class="SummaryRiverSection-kPnzzO fhMbrM"><div id="More Videos" class="SummaryRiverTitleWrapper-btvnRQ iXZzqQ"><div class="SectionTitleRoot-dBGvdq ggxHzE" data-testid="SectionTitle"><h2 class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ 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https://media.newyorker.com/photos/661d76bd2f5d700b96d8a580/16:9/w_1600,c_limit/_TheSmallestPower_gif3.gif 1600w" sizes="25vw"/><img alt="An Iranian Woman Finds Her Might, in “The Smallest Power”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/661d76bd2f5d700b96d8a580/16:9/w_1600%2Cc_limit/_TheSmallestPower_gif3.gif"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dogWHS summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN lapGFj summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">The New Yorker Documentary</span></div></div><a class="SummaryItemHedLink-civMjp jRfyII summary-item-tracking__hed-link summary-item__hed-link" data-component-title="More Videos" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/culture/the-new-yorker-documentary/the-smallest-power-iran-women-life-freedom" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">An Iranian Woman Finds Her Might, in “The Smallest Power”</h3></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb cPpCwE summary-item__image-link summary-item-tracking__image-link" href="/culture/the-new-yorker-documentary/the-smallest-power-iran-women-life-freedom" aria-hidden="true" tabindex="-1" data-component-title="More Videos" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz gKnDpj"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/661d76bd2f5d700b96d8a580/16:9/w_120,c_limit/_TheSmallestPower_gif3.gif 120w, https://media.newyorker.com/photos/661d76bd2f5d700b96d8a580/16:9/w_240,c_limit/_TheSmallestPower_gif3.gif 240w, https://media.newyorker.com/photos/661d76bd2f5d700b96d8a580/16:9/w_320,c_limit/_TheSmallestPower_gif3.gif 320w, https://media.newyorker.com/photos/661d76bd2f5d700b96d8a580/16:9/w_640,c_limit/_TheSmallestPower_gif3.gif 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/661d76bd2f5d700b96d8a580/16:9/w_120,c_limit/_TheSmallestPower_gif3.gif 120w, https://media.newyorker.com/photos/661d76bd2f5d700b96d8a580/16:9/w_240,c_limit/_TheSmallestPower_gif3.gif 240w, https://media.newyorker.com/photos/661d76bd2f5d700b96d8a580/16:9/w_320,c_limit/_TheSmallestPower_gif3.gif 320w, https://media.newyorker.com/photos/661d76bd2f5d700b96d8a580/16:9/w_640,c_limit/_TheSmallestPower_gif3.gif 640w, https://media.newyorker.com/photos/661d76bd2f5d700b96d8a580/16:9/w_960,c_limit/_TheSmallestPower_gif3.gif 960w, https://media.newyorker.com/photos/661d76bd2f5d700b96d8a580/16:9/w_1280,c_limit/_TheSmallestPower_gif3.gif 1280w, https://media.newyorker.com/photos/661d76bd2f5d700b96d8a580/16:9/w_1600,c_limit/_TheSmallestPower_gif3.gif 1600w" sizes="25vw"/><img alt="An Iranian Woman Finds Her Might, in “The Smallest Power”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/661d76bd2f5d700b96d8a580/16:9/w_1600%2Cc_limit/_TheSmallestPower_gif3.gif"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo ptJEE summary-item__dek">Both the subject and the makers of this animated short discover their identities and a new love of their nation.</div></div></div><div class="SummaryItemWrapper-iwvBff hHqfkN summary-item summary-item--has-border summary-item--article summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-side-by-side summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryItemWrapper-iGxRII djdwgT summary-list__item" data-item="{"dangerousHed":"Crashes and Community in “Demolition”","id":"660dc132371768fdd6a423b0","index":2,"contentType":"venue","hotelLink":"/culture/the-new-yorker-documentary/crashes-and-community-in-demolition","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb cPpCwE summary-item__image-link summary-item-tracking__image-link" 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class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/6614393421f9187402fda735/16:9/w_1600%2Cc_limit/*Demolition_gif4.gif"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dogWHS summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN lapGFj summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">The New Yorker Documentary</span></div></div><a class="SummaryItemHedLink-civMjp jRfyII summary-item-tracking__hed-link summary-item__hed-link" data-component-title="More Videos" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/culture/the-new-yorker-documentary/crashes-and-community-in-demolition" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Crashes and Community in “Demolition”</h3></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb cPpCwE summary-item__image-link summary-item-tracking__image-link" href="/culture/the-new-yorker-documentary/crashes-and-community-in-demolition" aria-hidden="true" tabindex="-1" data-component-title="More Videos" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz gKnDpj"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/6614393421f9187402fda735/16:9/w_120,c_limit/*Demolition_gif4.gif 120w, 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https://media.newyorker.com/photos/6614393421f9187402fda735/16:9/w_1280,c_limit/*Demolition_gif4.gif 1280w, https://media.newyorker.com/photos/6614393421f9187402fda735/16:9/w_1600,c_limit/*Demolition_gif4.gif 1600w" sizes="25vw"/><img alt="Crashes and Community in “Demolition”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/6614393421f9187402fda735/16:9/w_1600%2Cc_limit/*Demolition_gif4.gif"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo ptJEE summary-item__dek">In Alec Sutherland’s short film, upstate New York’s demolition derbies are a loud, brutal, deeply physical antidote to the isolation of digital life.</div></div></div><div class="hide-river-ad"><div class="AdWrapper-dQtivb fZrssQ summary-item summary-item--has-border summary-item--has-rule summary-item--article summary-item--text-align-left summary-list__item ad ad--river"><div class="ad__slot ad__slot--river" data-node-id="s8u7us"></div></div></div><div class="SummaryItemWrapper-iwvBff hHqfkN summary-item summary-item--has-border summary-item--article summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-side-by-side summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryItemWrapper-iGxRII djdwgT summary-list__item" data-item="{"dangerousHed":"Flipping the Script on Trans Medical Encounters","id":"6601b9faa2c3f0091193ffe6","index":3,"contentType":"venue","hotelLink":"/culture/the-new-yorker-documentary/flipping-the-script-on-trans-medical-encounters","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb cPpCwE summary-item__image-link 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sizes="25vw"/><img alt="Flipping the Script on Trans Medical Encounters" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/66033affc55aaaaf6c52894d/16:9/w_1600%2Cc_limit/thescript_gif.gif"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dogWHS summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN lapGFj summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">The New Yorker Documentary</span></div></div><a class="SummaryItemHedLink-civMjp jRfyII summary-item-tracking__hed-link summary-item__hed-link" data-component-title="More Videos" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/culture/the-new-yorker-documentary/flipping-the-script-on-trans-medical-encounters" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Flipping the Script on Trans Medical Encounters</h3></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb cPpCwE summary-item__image-link summary-item-tracking__image-link" href="/culture/the-new-yorker-documentary/flipping-the-script-on-trans-medical-encounters" aria-hidden="true" tabindex="-1" data-component-title="More Videos" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz gKnDpj"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/66033affc55aaaaf6c52894d/16:9/w_120,c_limit/thescript_gif.gif 120w, https://media.newyorker.com/photos/66033affc55aaaaf6c52894d/16:9/w_240,c_limit/thescript_gif.gif 240w, https://media.newyorker.com/photos/66033affc55aaaaf6c52894d/16:9/w_320,c_limit/thescript_gif.gif 320w, https://media.newyorker.com/photos/66033affc55aaaaf6c52894d/16:9/w_640,c_limit/thescript_gif.gif 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/66033affc55aaaaf6c52894d/16:9/w_120,c_limit/thescript_gif.gif 120w, https://media.newyorker.com/photos/66033affc55aaaaf6c52894d/16:9/w_240,c_limit/thescript_gif.gif 240w, https://media.newyorker.com/photos/66033affc55aaaaf6c52894d/16:9/w_320,c_limit/thescript_gif.gif 320w, https://media.newyorker.com/photos/66033affc55aaaaf6c52894d/16:9/w_640,c_limit/thescript_gif.gif 640w, https://media.newyorker.com/photos/66033affc55aaaaf6c52894d/16:9/w_960,c_limit/thescript_gif.gif 960w, https://media.newyorker.com/photos/66033affc55aaaaf6c52894d/16:9/w_1280,c_limit/thescript_gif.gif 1280w, https://media.newyorker.com/photos/66033affc55aaaaf6c52894d/16:9/w_1600,c_limit/thescript_gif.gif 1600w" sizes="25vw"/><img alt="Flipping the Script on Trans Medical Encounters" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/66033affc55aaaaf6c52894d/16:9/w_1600%2Cc_limit/thescript_gif.gif"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo ptJEE summary-item__dek">Noah Schamus and Brit Fryer’s short film offers a vision of how physicians and trans patients can meet one another on equal footing.</div></div></div></div></div></div><div class="GridItem-buujkM fLDozG grid--item grid-layout__aside"><aside class="SummaryListAside-cnFLhR bwfBrh summary-list__aside"><div class="StickyBoxWrapper-jfYBuk fifekH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-node-id="a9pftc"></div></div><div data-attr-viewport-monitor="" class="RecircMostPopularWrapper-bRuGTi nZGkR recirc-most-popular-wrapper viewport-monitor-anchor"></div></div><div class="StickyBoxPlaceholder-grPmrg dxAvXx"></div></div></aside></div></div><div class="AdWrapper-dQtivb fZrssQ SummaryRiverAd-krWIDC fofFLv ad ad--mid-content"><div class="ad__slot ad__slot--mid-content" data-node-id="5sam5"></div></div></section><section data-testid="SummaryRiverSection" class="SummaryRiverSection-kPnzzO fhMbrM"><div class="GridWrapper-cAzTTK iSDgMW grid grid-margins grid-items-2 SummaryListWrapper-eeFlQw fboyYe summary-list SummaryRiverList-ggyoWN fRqnb grid-layout--adrail"><div class="GridItem-buujkM ckUkOW grid--item grid-layout__content"><div><div class="summary-list__items"><div class="SummaryItemWrapper-iwvBff hHqfkN summary-item summary-item--has-border summary-item--article summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-side-by-side summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryItemWrapper-iGxRII djdwgT summary-list__item" data-item="{"dangerousHed":"For Black Women, Embracing Natural Hair Is About More Than Style","id":"65ef23bbb474141dc43b7bc3","index":0,"contentType":"venue","hotelLink":"/culture/the-new-yorker-documentary/for-black-women-embracing-natural-hair-is-about-more-than-style","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb cPpCwE summary-item__image-link summary-item-tracking__image-link" href="/culture/the-new-yorker-documentary/for-black-women-embracing-natural-hair-is-about-more-than-style" aria-hidden="true" tabindex="-1" data-component-title="More Videos" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz gKnDpj"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/65f9e1c5d8c4ccf63cf9744c/16:9/w_120,c_limit/TEXTURES_gif4.gif 120w, https://media.newyorker.com/photos/65f9e1c5d8c4ccf63cf9744c/16:9/w_240,c_limit/TEXTURES_gif4.gif 240w, https://media.newyorker.com/photos/65f9e1c5d8c4ccf63cf9744c/16:9/w_320,c_limit/TEXTURES_gif4.gif 320w, 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class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/65f9e1c5d8c4ccf63cf9744c/16:9/w_1600%2Cc_limit/TEXTURES_gif4.gif"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dogWHS summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN lapGFj summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">The New Yorker Documentary</span></div></div><a class="SummaryItemHedLink-civMjp jRfyII summary-item-tracking__hed-link summary-item__hed-link" data-component-title="More Videos" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/culture/the-new-yorker-documentary/for-black-women-embracing-natural-hair-is-about-more-than-style" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">For Black Women, Embracing Natural Hair Is About More Than Style</h3></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb cPpCwE summary-item__image-link summary-item-tracking__image-link" href="/culture/the-new-yorker-documentary/for-black-women-embracing-natural-hair-is-about-more-than-style" aria-hidden="true" tabindex="-1" data-component-title="More Videos" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz gKnDpj"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/65f9e1c5d8c4ccf63cf9744c/16:9/w_120,c_limit/TEXTURES_gif4.gif 120w, https://media.newyorker.com/photos/65f9e1c5d8c4ccf63cf9744c/16:9/w_240,c_limit/TEXTURES_gif4.gif 240w, https://media.newyorker.com/photos/65f9e1c5d8c4ccf63cf9744c/16:9/w_320,c_limit/TEXTURES_gif4.gif 320w, https://media.newyorker.com/photos/65f9e1c5d8c4ccf63cf9744c/16:9/w_640,c_limit/TEXTURES_gif4.gif 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/65f9e1c5d8c4ccf63cf9744c/16:9/w_120,c_limit/TEXTURES_gif4.gif 120w, https://media.newyorker.com/photos/65f9e1c5d8c4ccf63cf9744c/16:9/w_240,c_limit/TEXTURES_gif4.gif 240w, https://media.newyorker.com/photos/65f9e1c5d8c4ccf63cf9744c/16:9/w_320,c_limit/TEXTURES_gif4.gif 320w, https://media.newyorker.com/photos/65f9e1c5d8c4ccf63cf9744c/16:9/w_640,c_limit/TEXTURES_gif4.gif 640w, https://media.newyorker.com/photos/65f9e1c5d8c4ccf63cf9744c/16:9/w_960,c_limit/TEXTURES_gif4.gif 960w, 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summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryItemWrapper-iGxRII djdwgT summary-list__item" data-item="{"dangerousHed":"A Teen-Ager’s Quest to Manage His O.C.D. in “Lost in My Mind”","id":"65ef23b3028bfb1b90e8bd6e","index":1,"contentType":"venue","hotelLink":"/culture/the-new-yorker-documentary/a-teen-agers-quest-to-manage-his-ocd-in-lost-in-my-mind","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb cPpCwE summary-item__image-link summary-item-tracking__image-link" href="/culture/the-new-yorker-documentary/a-teen-agers-quest-to-manage-his-ocd-in-lost-in-my-mind" aria-hidden="true" tabindex="-1" data-component-title="More Videos" data-component-type="recirc-river" data-recirc-pattern="summary-item" 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summary-item--layout-placement-side-by-side summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryItemWrapper-iGxRII djdwgT summary-list__item" data-item="{"dangerousHed":"A Ukrainian TikTok Influencer Shares Her Life as a Refugee in “Following Valeria”","id":"65cfbd7a135f0a2b62d5c949","index":2,"contentType":"venue","hotelLink":"/culture/the-new-yorker-documentary/a-ukrainian-tiktok-influencer-shares-her-life-as-a-refugee-in-following-valeria","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb cPpCwE summary-item__image-link summary-item-tracking__image-link" href="/culture/the-new-yorker-documentary/a-ukrainian-tiktok-influencer-shares-her-life-as-a-refugee-in-following-valeria" aria-hidden="true" tabindex="-1" 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responsive-image__image" src="https://media.newyorker.com/photos/65d4edb3d20a1f75931f9432/16:9/w_1600%2Cc_limit/followingvaleria_gif6.gif"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dogWHS summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN lapGFj summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">The New Yorker Documentary</span></div></div><a class="SummaryItemHedLink-civMjp jRfyII summary-item-tracking__hed-link summary-item__hed-link" data-component-title="More Videos" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/culture/the-new-yorker-documentary/a-ukrainian-tiktok-influencer-shares-her-life-as-a-refugee-in-following-valeria" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">A Ukrainian TikTok Influencer Shares Her Life as a Refugee in “Following Valeria”</h3></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb cPpCwE summary-item__image-link summary-item-tracking__image-link" href="/culture/the-new-yorker-documentary/a-ukrainian-tiktok-influencer-shares-her-life-as-a-refugee-in-following-valeria" aria-hidden="true" tabindex="-1" data-component-title="More Videos" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz gKnDpj"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/65d4edb3d20a1f75931f9432/16:9/w_120,c_limit/followingvaleria_gif6.gif 120w, https://media.newyorker.com/photos/65d4edb3d20a1f75931f9432/16:9/w_240,c_limit/followingvaleria_gif6.gif 240w, https://media.newyorker.com/photos/65d4edb3d20a1f75931f9432/16:9/w_320,c_limit/followingvaleria_gif6.gif 320w, https://media.newyorker.com/photos/65d4edb3d20a1f75931f9432/16:9/w_640,c_limit/followingvaleria_gif6.gif 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/65d4edb3d20a1f75931f9432/16:9/w_120,c_limit/followingvaleria_gif6.gif 120w, https://media.newyorker.com/photos/65d4edb3d20a1f75931f9432/16:9/w_240,c_limit/followingvaleria_gif6.gif 240w, https://media.newyorker.com/photos/65d4edb3d20a1f75931f9432/16:9/w_320,c_limit/followingvaleria_gif6.gif 320w, https://media.newyorker.com/photos/65d4edb3d20a1f75931f9432/16:9/w_640,c_limit/followingvaleria_gif6.gif 640w, https://media.newyorker.com/photos/65d4edb3d20a1f75931f9432/16:9/w_960,c_limit/followingvaleria_gif6.gif 960w, https://media.newyorker.com/photos/65d4edb3d20a1f75931f9432/16:9/w_1280,c_limit/followingvaleria_gif6.gif 1280w, https://media.newyorker.com/photos/65d4edb3d20a1f75931f9432/16:9/w_1600,c_limit/followingvaleria_gif6.gif 1600w" sizes="25vw"/><img alt="A Ukrainian TikTok Influencer Shares Her Life as a Refugee in “Following Valeria”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/65d4edb3d20a1f75931f9432/16:9/w_1600%2Cc_limit/followingvaleria_gif6.gif"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo ptJEE summary-item__dek">Nicola Fegg’s short documentary follows a young woman who becomes a social-media star during the war in Ukraine.</div></div></div><div class="hide-river-ad"><div class="AdWrapper-dQtivb fZrssQ summary-item summary-item--has-border summary-item--has-rule summary-item--article summary-item--text-align-left summary-list__item ad ad--river"><div class="ad__slot ad__slot--river" data-node-id="7a9pt"></div></div></div><div class="SummaryItemWrapper-iwvBff hHqfkN summary-item summary-item--has-border summary-item--article summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-side-by-side summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryItemWrapper-iGxRII djdwgT summary-list__item" data-item="{"dangerousHed":"Roger J. Carter’s Toy Soldiers and Black Revolutionaries","id":"65c1412d65c872b3c446f5a1","index":3,"contentType":"venue","hotelLink":"/culture/the-new-yorker-documentary/roger-j-carters-toy-soldiers-and-black-revolutionaries","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb cPpCwE summary-item__image-link summary-item-tracking__image-link" href="/culture/the-new-yorker-documentary/roger-j-carters-toy-soldiers-and-black-revolutionaries" aria-hidden="true" tabindex="-1" data-component-title="More Videos" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz gKnDpj"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/65c260194b004108e4fcafe1/16:9/w_120,c_limit/_rogerjcarter_gif3.gif 120w, https://media.newyorker.com/photos/65c260194b004108e4fcafe1/16:9/w_240,c_limit/_rogerjcarter_gif3.gif 240w, https://media.newyorker.com/photos/65c260194b004108e4fcafe1/16:9/w_320,c_limit/_rogerjcarter_gif3.gif 320w, https://media.newyorker.com/photos/65c260194b004108e4fcafe1/16:9/w_640,c_limit/_rogerjcarter_gif3.gif 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/65c260194b004108e4fcafe1/16:9/w_120,c_limit/_rogerjcarter_gif3.gif 120w, https://media.newyorker.com/photos/65c260194b004108e4fcafe1/16:9/w_240,c_limit/_rogerjcarter_gif3.gif 240w, https://media.newyorker.com/photos/65c260194b004108e4fcafe1/16:9/w_320,c_limit/_rogerjcarter_gif3.gif 320w, https://media.newyorker.com/photos/65c260194b004108e4fcafe1/16:9/w_640,c_limit/_rogerjcarter_gif3.gif 640w, https://media.newyorker.com/photos/65c260194b004108e4fcafe1/16:9/w_960,c_limit/_rogerjcarter_gif3.gif 960w, https://media.newyorker.com/photos/65c260194b004108e4fcafe1/16:9/w_1280,c_limit/_rogerjcarter_gif3.gif 1280w, https://media.newyorker.com/photos/65c260194b004108e4fcafe1/16:9/w_1600,c_limit/_rogerjcarter_gif3.gif 1600w" sizes="25vw"/><img alt="Roger J. Carter’s Toy Soldiers and Black Revolutionaries" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/65c260194b004108e4fcafe1/16:9/w_1600%2Cc_limit/_rogerjcarter_gif3.gif"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dogWHS summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN lapGFj summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">The New Yorker Documentary</span></div></div><a class="SummaryItemHedLink-civMjp jRfyII summary-item-tracking__hed-link summary-item__hed-link" data-component-title="More Videos" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/culture/the-new-yorker-documentary/roger-j-carters-toy-soldiers-and-black-revolutionaries" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Roger J. Carter’s Toy Soldiers and Black Revolutionaries</h3></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb cPpCwE summary-item__image-link summary-item-tracking__image-link" href="/culture/the-new-yorker-documentary/roger-j-carters-toy-soldiers-and-black-revolutionaries" aria-hidden="true" tabindex="-1" data-component-title="More Videos" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz gKnDpj"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/65c260194b004108e4fcafe1/16:9/w_120,c_limit/_rogerjcarter_gif3.gif 120w, https://media.newyorker.com/photos/65c260194b004108e4fcafe1/16:9/w_240,c_limit/_rogerjcarter_gif3.gif 240w, https://media.newyorker.com/photos/65c260194b004108e4fcafe1/16:9/w_320,c_limit/_rogerjcarter_gif3.gif 320w, https://media.newyorker.com/photos/65c260194b004108e4fcafe1/16:9/w_640,c_limit/_rogerjcarter_gif3.gif 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/65c260194b004108e4fcafe1/16:9/w_120,c_limit/_rogerjcarter_gif3.gif 120w, https://media.newyorker.com/photos/65c260194b004108e4fcafe1/16:9/w_240,c_limit/_rogerjcarter_gif3.gif 240w, https://media.newyorker.com/photos/65c260194b004108e4fcafe1/16:9/w_320,c_limit/_rogerjcarter_gif3.gif 320w, https://media.newyorker.com/photos/65c260194b004108e4fcafe1/16:9/w_640,c_limit/_rogerjcarter_gif3.gif 640w, https://media.newyorker.com/photos/65c260194b004108e4fcafe1/16:9/w_960,c_limit/_rogerjcarter_gif3.gif 960w, https://media.newyorker.com/photos/65c260194b004108e4fcafe1/16:9/w_1280,c_limit/_rogerjcarter_gif3.gif 1280w, https://media.newyorker.com/photos/65c260194b004108e4fcafe1/16:9/w_1600,c_limit/_rogerjcarter_gif3.gif 1600w" sizes="25vw"/><img alt="Roger J. Carter’s Toy Soldiers and Black Revolutionaries" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/65c260194b004108e4fcafe1/16:9/w_1600%2Cc_limit/_rogerjcarter_gif3.gif"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo ptJEE summary-item__dek">Justin Fairweather’s short film “Roger J. Carter: Rebel Revolutionary” shows how the artist arrived at his innovative way of making portraits of Black figures.</div></div></div></div></div></div><div class="GridItem-buujkM fLDozG grid--item grid-layout__aside"><aside class="SummaryListAside-cnFLhR bwfBrh summary-list__aside"><div class="StickyBoxWrapper-jfYBuk fifekH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-node-id="bcjj2r"></div></div><div data-attr-viewport-monitor="" class="RecircMostPopularWrapper-bRuGTi nZGkR recirc-most-popular-wrapper viewport-monitor-anchor"></div></div><div class="StickyBoxPlaceholder-grPmrg dxAvXx"></div></div></aside></div></div><div class="AdWrapper-dQtivb fZrssQ SummaryRiverAd-krWIDC fofFLv ad ad--mid-content"><div class="ad__slot ad__slot--mid-content" data-node-id="3phxkg"></div></div></section><section data-testid="SummaryRiverSection" class="SummaryRiverSection-kPnzzO fhMbrM"><div class="GridWrapper-cAzTTK iSDgMW grid grid-margins grid-items-2 SummaryListWrapper-eeFlQw fboyYe summary-list SummaryRiverList-ggyoWN fRqnb grid-layout--adrail"><div class="GridItem-buujkM ckUkOW grid--item grid-layout__content"><div><div class="summary-list__items"><div class="SummaryItemWrapper-iwvBff hHqfkN summary-item summary-item--has-border summary-item--article summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-side-by-side summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryItemWrapper-iGxRII djdwgT summary-list__item" data-item="{"dangerousHed":"Bowling Without Sight, in “Friday Night Blind”","id":"659c2228dfe00958ba29f10e","index":0,"contentType":"venue","hotelLink":"/culture/the-new-yorker-documentary/bowling-without-sight-in-friday-night-blind","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb cPpCwE summary-item__image-link summary-item-tracking__image-link" href="/culture/the-new-yorker-documentary/bowling-without-sight-in-friday-night-blind" aria-hidden="true" tabindex="-1" data-component-title="More Videos" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz gKnDpj"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/65b03de00fda3b9bca433ec7/16:9/w_120,c_limit/_Friday%20Night%20Blind_gif6.gif 120w, https://media.newyorker.com/photos/65b03de00fda3b9bca433ec7/16:9/w_240,c_limit/_Friday%20Night%20Blind_gif6.gif 240w, https://media.newyorker.com/photos/65b03de00fda3b9bca433ec7/16:9/w_320,c_limit/_Friday%20Night%20Blind_gif6.gif 320w, https://media.newyorker.com/photos/65b03de00fda3b9bca433ec7/16:9/w_640,c_limit/_Friday%20Night%20Blind_gif6.gif 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/65b03de00fda3b9bca433ec7/16:9/w_120,c_limit/_Friday%20Night%20Blind_gif6.gif 120w, https://media.newyorker.com/photos/65b03de00fda3b9bca433ec7/16:9/w_240,c_limit/_Friday%20Night%20Blind_gif6.gif 240w, https://media.newyorker.com/photos/65b03de00fda3b9bca433ec7/16:9/w_320,c_limit/_Friday%20Night%20Blind_gif6.gif 320w, https://media.newyorker.com/photos/65b03de00fda3b9bca433ec7/16:9/w_640,c_limit/_Friday%20Night%20Blind_gif6.gif 640w, https://media.newyorker.com/photos/65b03de00fda3b9bca433ec7/16:9/w_960,c_limit/_Friday%20Night%20Blind_gif6.gif 960w, https://media.newyorker.com/photos/65b03de00fda3b9bca433ec7/16:9/w_1280,c_limit/_Friday%20Night%20Blind_gif6.gif 1280w, https://media.newyorker.com/photos/65b03de00fda3b9bca433ec7/16:9/w_1600,c_limit/_Friday%20Night%20Blind_gif6.gif 1600w" sizes="25vw"/><img alt="Bowling Without Sight, in “Friday Night Blind”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/65b03de00fda3b9bca433ec7/16:9/w_1600%2Cc_limit/_Friday%2520Night%2520Blind_gif6.gif"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dogWHS summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN lapGFj summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">The New Yorker Documentary</span></div></div><a class="SummaryItemHedLink-civMjp jRfyII summary-item-tracking__hed-link summary-item__hed-link" data-component-title="More Videos" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/culture/the-new-yorker-documentary/bowling-without-sight-in-friday-night-blind" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Bowling Without Sight, in “Friday Night Blind”</h3></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb cPpCwE summary-item__image-link summary-item-tracking__image-link" href="/culture/the-new-yorker-documentary/bowling-without-sight-in-friday-night-blind" aria-hidden="true" tabindex="-1" data-component-title="More Videos" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz gKnDpj"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/65b03de00fda3b9bca433ec7/16:9/w_120,c_limit/_Friday%20Night%20Blind_gif6.gif 120w, https://media.newyorker.com/photos/65b03de00fda3b9bca433ec7/16:9/w_240,c_limit/_Friday%20Night%20Blind_gif6.gif 240w, https://media.newyorker.com/photos/65b03de00fda3b9bca433ec7/16:9/w_320,c_limit/_Friday%20Night%20Blind_gif6.gif 320w, https://media.newyorker.com/photos/65b03de00fda3b9bca433ec7/16:9/w_640,c_limit/_Friday%20Night%20Blind_gif6.gif 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/65b03de00fda3b9bca433ec7/16:9/w_120,c_limit/_Friday%20Night%20Blind_gif6.gif 120w, https://media.newyorker.com/photos/65b03de00fda3b9bca433ec7/16:9/w_240,c_limit/_Friday%20Night%20Blind_gif6.gif 240w, https://media.newyorker.com/photos/65b03de00fda3b9bca433ec7/16:9/w_320,c_limit/_Friday%20Night%20Blind_gif6.gif 320w, https://media.newyorker.com/photos/65b03de00fda3b9bca433ec7/16:9/w_640,c_limit/_Friday%20Night%20Blind_gif6.gif 640w, https://media.newyorker.com/photos/65b03de00fda3b9bca433ec7/16:9/w_960,c_limit/_Friday%20Night%20Blind_gif6.gif 960w, https://media.newyorker.com/photos/65b03de00fda3b9bca433ec7/16:9/w_1280,c_limit/_Friday%20Night%20Blind_gif6.gif 1280w, https://media.newyorker.com/photos/65b03de00fda3b9bca433ec7/16:9/w_1600,c_limit/_Friday%20Night%20Blind_gif6.gif 1600w" sizes="25vw"/><img alt="Bowling Without Sight, in “Friday Night Blind”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/65b03de00fda3b9bca433ec7/16:9/w_1600%2Cc_limit/_Friday%2520Night%2520Blind_gif6.gif"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo ptJEE summary-item__dek">Scott Krahn and Robb Fischer’s short film follows a trio of friends who take part in a bowling league for people who are visually impaired.</div></div></div><div class="SummaryItemWrapper-iwvBff hHqfkN summary-item summary-item--has-border summary-item--article summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-side-by-side summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryItemWrapper-iGxRII djdwgT summary-list__item" data-item="{"dangerousHed":"One Man’s Fight to Close the Racial Wealth Gap, in “The Barber of Little Rock”","id":"659c223d816ea6bb5841e631","index":1,"contentType":"venue","hotelLink":"/culture/the-new-yorker-documentary/barber-of-little-rock-arlo-washington-wealth-gap","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb cPpCwE summary-item__image-link summary-item-tracking__image-link" href="/culture/the-new-yorker-documentary/barber-of-little-rock-arlo-washington-wealth-gap" aria-hidden="true" tabindex="-1" data-component-title="More Videos" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz gKnDpj"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/659c677cac71713ad923fc0a/16:9/w_120,c_limit/The_Barber_Of_Little_Rock_gif1.gif 120w, https://media.newyorker.com/photos/659c677cac71713ad923fc0a/16:9/w_240,c_limit/The_Barber_Of_Little_Rock_gif1.gif 240w, https://media.newyorker.com/photos/659c677cac71713ad923fc0a/16:9/w_320,c_limit/The_Barber_Of_Little_Rock_gif1.gif 320w, https://media.newyorker.com/photos/659c677cac71713ad923fc0a/16:9/w_640,c_limit/The_Barber_Of_Little_Rock_gif1.gif 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/659c677cac71713ad923fc0a/16:9/w_120,c_limit/The_Barber_Of_Little_Rock_gif1.gif 120w, https://media.newyorker.com/photos/659c677cac71713ad923fc0a/16:9/w_240,c_limit/The_Barber_Of_Little_Rock_gif1.gif 240w, https://media.newyorker.com/photos/659c677cac71713ad923fc0a/16:9/w_320,c_limit/The_Barber_Of_Little_Rock_gif1.gif 320w, https://media.newyorker.com/photos/659c677cac71713ad923fc0a/16:9/w_640,c_limit/The_Barber_Of_Little_Rock_gif1.gif 640w, https://media.newyorker.com/photos/659c677cac71713ad923fc0a/16:9/w_960,c_limit/The_Barber_Of_Little_Rock_gif1.gif 960w, https://media.newyorker.com/photos/659c677cac71713ad923fc0a/16:9/w_1280,c_limit/The_Barber_Of_Little_Rock_gif1.gif 1280w, https://media.newyorker.com/photos/659c677cac71713ad923fc0a/16:9/w_1600,c_limit/The_Barber_Of_Little_Rock_gif1.gif 1600w" sizes="25vw"/><img alt="One Man’s Fight to Close the Racial Wealth Gap, in “The Barber of Little Rock”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/659c677cac71713ad923fc0a/16:9/w_1600%2Cc_limit/The_Barber_Of_Little_Rock_gif1.gif"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dogWHS summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN lapGFj summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">The New Yorker Documentary</span></div></div><a class="SummaryItemHedLink-civMjp jRfyII summary-item-tracking__hed-link summary-item__hed-link" data-component-title="More Videos" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/culture/the-new-yorker-documentary/barber-of-little-rock-arlo-washington-wealth-gap" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">One Man’s Fight to Close the Racial Wealth Gap, in “The Barber of Little Rock”</h3></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb cPpCwE summary-item__image-link summary-item-tracking__image-link" href="/culture/the-new-yorker-documentary/barber-of-little-rock-arlo-washington-wealth-gap" aria-hidden="true" tabindex="-1" data-component-title="More Videos" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz gKnDpj"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/659c677cac71713ad923fc0a/16:9/w_120,c_limit/The_Barber_Of_Little_Rock_gif1.gif 120w, https://media.newyorker.com/photos/659c677cac71713ad923fc0a/16:9/w_240,c_limit/The_Barber_Of_Little_Rock_gif1.gif 240w, https://media.newyorker.com/photos/659c677cac71713ad923fc0a/16:9/w_320,c_limit/The_Barber_Of_Little_Rock_gif1.gif 320w, https://media.newyorker.com/photos/659c677cac71713ad923fc0a/16:9/w_640,c_limit/The_Barber_Of_Little_Rock_gif1.gif 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/659c677cac71713ad923fc0a/16:9/w_120,c_limit/The_Barber_Of_Little_Rock_gif1.gif 120w, https://media.newyorker.com/photos/659c677cac71713ad923fc0a/16:9/w_240,c_limit/The_Barber_Of_Little_Rock_gif1.gif 240w, https://media.newyorker.com/photos/659c677cac71713ad923fc0a/16:9/w_320,c_limit/The_Barber_Of_Little_Rock_gif1.gif 320w, https://media.newyorker.com/photos/659c677cac71713ad923fc0a/16:9/w_640,c_limit/The_Barber_Of_Little_Rock_gif1.gif 640w, https://media.newyorker.com/photos/659c677cac71713ad923fc0a/16:9/w_960,c_limit/The_Barber_Of_Little_Rock_gif1.gif 960w, https://media.newyorker.com/photos/659c677cac71713ad923fc0a/16:9/w_1280,c_limit/The_Barber_Of_Little_Rock_gif1.gif 1280w, https://media.newyorker.com/photos/659c677cac71713ad923fc0a/16:9/w_1600,c_limit/The_Barber_Of_Little_Rock_gif1.gif 1600w" sizes="25vw"/><img alt="One Man’s Fight to Close the Racial Wealth Gap, in “The Barber of Little Rock”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/659c677cac71713ad923fc0a/16:9/w_1600%2Cc_limit/The_Barber_Of_Little_Rock_gif1.gif"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo ptJEE summary-item__dek">John Hoffman and Christine Turner’s short film follows Arlo Washington as he helps members of his community escape the hazards of banking while Black.</div></div></div><div class="SummaryItemWrapper-iwvBff hHqfkN summary-item summary-item--has-border summary-item--article summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-side-by-side summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryItemWrapper-iGxRII djdwgT summary-list__item" data-item="{"dangerousHed":"A Pioneer of Echolocation for the Blind in “Echo”","id":"6554fefcaf41f3e1628edd40","index":2,"contentType":"venue","hotelLink":"/culture/the-new-yorker-documentary/a-pioneer-of-echolocation-for-the-blind-in-echo","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb cPpCwE summary-item__image-link summary-item-tracking__image-link" href="/culture/the-new-yorker-documentary/a-pioneer-of-echolocation-for-the-blind-in-echo" aria-hidden="true" tabindex="-1" data-component-title="More Videos" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz gKnDpj"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/6578d869c2e6660de50dcb75/16:9/w_120,c_limit/echo_gif3.gif 120w, https://media.newyorker.com/photos/6578d869c2e6660de50dcb75/16:9/w_240,c_limit/echo_gif3.gif 240w, https://media.newyorker.com/photos/6578d869c2e6660de50dcb75/16:9/w_320,c_limit/echo_gif3.gif 320w, https://media.newyorker.com/photos/6578d869c2e6660de50dcb75/16:9/w_640,c_limit/echo_gif3.gif 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/6578d869c2e6660de50dcb75/16:9/w_120,c_limit/echo_gif3.gif 120w, https://media.newyorker.com/photos/6578d869c2e6660de50dcb75/16:9/w_240,c_limit/echo_gif3.gif 240w, https://media.newyorker.com/photos/6578d869c2e6660de50dcb75/16:9/w_320,c_limit/echo_gif3.gif 320w, https://media.newyorker.com/photos/6578d869c2e6660de50dcb75/16:9/w_640,c_limit/echo_gif3.gif 640w, https://media.newyorker.com/photos/6578d869c2e6660de50dcb75/16:9/w_960,c_limit/echo_gif3.gif 960w, https://media.newyorker.com/photos/6578d869c2e6660de50dcb75/16:9/w_1280,c_limit/echo_gif3.gif 1280w, https://media.newyorker.com/photos/6578d869c2e6660de50dcb75/16:9/w_1600,c_limit/echo_gif3.gif 1600w" sizes="25vw"/><img alt="A Pioneer of Echolocation for the Blind in “Echo”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/6578d869c2e6660de50dcb75/16:9/w_1600%2Cc_limit/echo_gif3.gif"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dogWHS summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN lapGFj summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">The New Yorker Documentary</span></div></div><a class="SummaryItemHedLink-civMjp jRfyII summary-item-tracking__hed-link summary-item__hed-link" data-component-title="More Videos" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/culture/the-new-yorker-documentary/a-pioneer-of-echolocation-for-the-blind-in-echo" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">A Pioneer of Echolocation for the Blind in “Echo”</h3></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb cPpCwE summary-item__image-link summary-item-tracking__image-link" href="/culture/the-new-yorker-documentary/a-pioneer-of-echolocation-for-the-blind-in-echo" aria-hidden="true" tabindex="-1" data-component-title="More Videos" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz gKnDpj"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/6578d869c2e6660de50dcb75/16:9/w_120,c_limit/echo_gif3.gif 120w, https://media.newyorker.com/photos/6578d869c2e6660de50dcb75/16:9/w_240,c_limit/echo_gif3.gif 240w, https://media.newyorker.com/photos/6578d869c2e6660de50dcb75/16:9/w_320,c_limit/echo_gif3.gif 320w, https://media.newyorker.com/photos/6578d869c2e6660de50dcb75/16:9/w_640,c_limit/echo_gif3.gif 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/6578d869c2e6660de50dcb75/16:9/w_120,c_limit/echo_gif3.gif 120w, https://media.newyorker.com/photos/6578d869c2e6660de50dcb75/16:9/w_240,c_limit/echo_gif3.gif 240w, https://media.newyorker.com/photos/6578d869c2e6660de50dcb75/16:9/w_320,c_limit/echo_gif3.gif 320w, https://media.newyorker.com/photos/6578d869c2e6660de50dcb75/16:9/w_640,c_limit/echo_gif3.gif 640w, https://media.newyorker.com/photos/6578d869c2e6660de50dcb75/16:9/w_960,c_limit/echo_gif3.gif 960w, https://media.newyorker.com/photos/6578d869c2e6660de50dcb75/16:9/w_1280,c_limit/echo_gif3.gif 1280w, https://media.newyorker.com/photos/6578d869c2e6660de50dcb75/16:9/w_1600,c_limit/echo_gif3.gif 1600w" sizes="25vw"/><img alt="A Pioneer of Echolocation for the Blind in “Echo”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/6578d869c2e6660de50dcb75/16:9/w_1600%2Cc_limit/echo_gif3.gif"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo ptJEE summary-item__dek">The filmmakers Ben Wolin and Michael Minahan’s documentary short follows Daniel Kish, who uses clicks and echoes to listen his way through the world.</div></div></div><div class="hide-river-ad"><div class="AdWrapper-dQtivb fZrssQ summary-item summary-item--has-border summary-item--has-rule summary-item--article summary-item--text-align-left summary-list__item ad ad--river"><div class="ad__slot ad__slot--river" data-node-id="azf9d"></div></div></div><div class="SummaryItemWrapper-iwvBff hHqfkN summary-item summary-item--has-border summary-item--article summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-side-by-side summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryItemWrapper-iGxRII djdwgT summary-list__item" data-item="{"dangerousHed":"A Land-Mine Survivor’s Resilience, in “Carpenter”","id":"656e2d154c8a7c64ce580a6c","index":3,"contentType":"venue","hotelLink":"/culture/the-new-yorker-documentary/a-land-mine-survivors-resilience-in-carpenter","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb cPpCwE summary-item__image-link summary-item-tracking__image-link" href="/culture/the-new-yorker-documentary/a-land-mine-survivors-resilience-in-carpenter" aria-hidden="true" tabindex="-1" data-component-title="More Videos" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz gKnDpj"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/6570e39e5a1407461ae12e78/16:9/w_120,c_limit/carpenter_gif2.gif 120w, https://media.newyorker.com/photos/6570e39e5a1407461ae12e78/16:9/w_240,c_limit/carpenter_gif2.gif 240w, https://media.newyorker.com/photos/6570e39e5a1407461ae12e78/16:9/w_320,c_limit/carpenter_gif2.gif 320w, https://media.newyorker.com/photos/6570e39e5a1407461ae12e78/16:9/w_640,c_limit/carpenter_gif2.gif 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/6570e39e5a1407461ae12e78/16:9/w_120,c_limit/carpenter_gif2.gif 120w, https://media.newyorker.com/photos/6570e39e5a1407461ae12e78/16:9/w_240,c_limit/carpenter_gif2.gif 240w, https://media.newyorker.com/photos/6570e39e5a1407461ae12e78/16:9/w_320,c_limit/carpenter_gif2.gif 320w, https://media.newyorker.com/photos/6570e39e5a1407461ae12e78/16:9/w_640,c_limit/carpenter_gif2.gif 640w, https://media.newyorker.com/photos/6570e39e5a1407461ae12e78/16:9/w_960,c_limit/carpenter_gif2.gif 960w, https://media.newyorker.com/photos/6570e39e5a1407461ae12e78/16:9/w_1280,c_limit/carpenter_gif2.gif 1280w, https://media.newyorker.com/photos/6570e39e5a1407461ae12e78/16:9/w_1600,c_limit/carpenter_gif2.gif 1600w" sizes="25vw"/><img alt="A Land-Mine Survivor’s Resilience, in “Carpenter”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/6570e39e5a1407461ae12e78/16:9/w_1600%2Cc_limit/carpenter_gif2.gif"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dogWHS summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN lapGFj summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">The New Yorker Documentary</span></div></div><a class="SummaryItemHedLink-civMjp jRfyII summary-item-tracking__hed-link summary-item__hed-link" data-component-title="More Videos" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/culture/the-new-yorker-documentary/a-land-mine-survivors-resilience-in-carpenter" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">A Land-Mine Survivor’s Resilience, in “Carpenter”</h3></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb cPpCwE summary-item__image-link summary-item-tracking__image-link" href="/culture/the-new-yorker-documentary/a-land-mine-survivors-resilience-in-carpenter" aria-hidden="true" tabindex="-1" data-component-title="More Videos" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz gKnDpj"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/6570e39e5a1407461ae12e78/16:9/w_120,c_limit/carpenter_gif2.gif 120w, https://media.newyorker.com/photos/6570e39e5a1407461ae12e78/16:9/w_240,c_limit/carpenter_gif2.gif 240w, https://media.newyorker.com/photos/6570e39e5a1407461ae12e78/16:9/w_320,c_limit/carpenter_gif2.gif 320w, https://media.newyorker.com/photos/6570e39e5a1407461ae12e78/16:9/w_640,c_limit/carpenter_gif2.gif 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/6570e39e5a1407461ae12e78/16:9/w_120,c_limit/carpenter_gif2.gif 120w, https://media.newyorker.com/photos/6570e39e5a1407461ae12e78/16:9/w_240,c_limit/carpenter_gif2.gif 240w, https://media.newyorker.com/photos/6570e39e5a1407461ae12e78/16:9/w_320,c_limit/carpenter_gif2.gif 320w, https://media.newyorker.com/photos/6570e39e5a1407461ae12e78/16:9/w_640,c_limit/carpenter_gif2.gif 640w, https://media.newyorker.com/photos/6570e39e5a1407461ae12e78/16:9/w_960,c_limit/carpenter_gif2.gif 960w, https://media.newyorker.com/photos/6570e39e5a1407461ae12e78/16:9/w_1280,c_limit/carpenter_gif2.gif 1280w, https://media.newyorker.com/photos/6570e39e5a1407461ae12e78/16:9/w_1600,c_limit/carpenter_gif2.gif 1600w" sizes="25vw"/><img alt="A Land-Mine Survivor’s Resilience, in “Carpenter”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/6570e39e5a1407461ae12e78/16:9/w_1600%2Cc_limit/carpenter_gif2.gif"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo ptJEE summary-item__dek">Khalil Sahragard’s documentary short follows an amputee in Kurdistan who carves prosthetics for others who, like him, have lost limbs to explosives after the Iran-Iraq War.</div></div></div></div></div></div><div class="GridItem-buujkM fLDozG grid--item grid-layout__aside"><aside class="SummaryListAside-cnFLhR bwfBrh summary-list__aside"><div class="StickyBoxWrapper-jfYBuk fifekH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-node-id="b1u4xv"></div></div><div data-attr-viewport-monitor="" class="RecircMostPopularWrapper-bRuGTi nZGkR recirc-most-popular-wrapper viewport-monitor-anchor"></div></div><div class="StickyBoxPlaceholder-grPmrg dxAvXx"></div></div></aside></div></div><div class="AdWrapper-dQtivb fZrssQ SummaryRiverAd-krWIDC fofFLv ad ad--mid-content"><div class="ad__slot ad__slot--mid-content" data-node-id="czs7q8"></div></div></section><section data-testid="SummaryRiverSection" class="SummaryRiverSection-kPnzzO fhMbrM"><div class="GridWrapper-cAzTTK iSDgMW grid grid-margins grid-items-2 SummaryListWrapper-eeFlQw fboyYe summary-list SummaryRiverList-ggyoWN fRqnb grid-layout--adrail"><div class="GridItem-buujkM ckUkOW grid--item grid-layout__content"><div><div class="summary-list__items"><div class="SummaryItemWrapper-iwvBff hHqfkN summary-item summary-item--has-border summary-item--article summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-side-by-side summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryItemWrapper-iGxRII djdwgT summary-list__item" data-item="{"dangerousHed":"The Euphoria of Cold-Water Immersion in “Swimming Through”","id":"656e2d214c8a7c64ce580a6d","index":0,"contentType":"venue","hotelLink":"/culture/the-new-yorker-documentary/the-euphoria-of-cold-water-immersion-in-swimming-through","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb cPpCwE summary-item__image-link summary-item-tracking__image-link" href="/culture/the-new-yorker-documentary/the-euphoria-of-cold-water-immersion-in-swimming-through" aria-hidden="true" tabindex="-1" data-component-title="More Videos" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz gKnDpj"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/656f8b6ed7fa207b4d8e5d0a/16:9/w_120,c_limit/swimmingthrough_gif5.gif 120w, https://media.newyorker.com/photos/656f8b6ed7fa207b4d8e5d0a/16:9/w_240,c_limit/swimmingthrough_gif5.gif 240w, https://media.newyorker.com/photos/656f8b6ed7fa207b4d8e5d0a/16:9/w_320,c_limit/swimmingthrough_gif5.gif 320w, https://media.newyorker.com/photos/656f8b6ed7fa207b4d8e5d0a/16:9/w_640,c_limit/swimmingthrough_gif5.gif 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/656f8b6ed7fa207b4d8e5d0a/16:9/w_120,c_limit/swimmingthrough_gif5.gif 120w, https://media.newyorker.com/photos/656f8b6ed7fa207b4d8e5d0a/16:9/w_240,c_limit/swimmingthrough_gif5.gif 240w, https://media.newyorker.com/photos/656f8b6ed7fa207b4d8e5d0a/16:9/w_320,c_limit/swimmingthrough_gif5.gif 320w, https://media.newyorker.com/photos/656f8b6ed7fa207b4d8e5d0a/16:9/w_640,c_limit/swimmingthrough_gif5.gif 640w, https://media.newyorker.com/photos/656f8b6ed7fa207b4d8e5d0a/16:9/w_960,c_limit/swimmingthrough_gif5.gif 960w, https://media.newyorker.com/photos/656f8b6ed7fa207b4d8e5d0a/16:9/w_1280,c_limit/swimmingthrough_gif5.gif 1280w, https://media.newyorker.com/photos/656f8b6ed7fa207b4d8e5d0a/16:9/w_1600,c_limit/swimmingthrough_gif5.gif 1600w" sizes="25vw"/><img alt="The Euphoria of Cold-Water Immersion in “Swimming Through”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/656f8b6ed7fa207b4d8e5d0a/16:9/w_1600%2Cc_limit/swimmingthrough_gif5.gif"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dogWHS summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN lapGFj summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">The New Yorker Documentary</span></div></div><a class="SummaryItemHedLink-civMjp jRfyII summary-item-tracking__hed-link summary-item__hed-link" data-component-title="More Videos" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/culture/the-new-yorker-documentary/the-euphoria-of-cold-water-immersion-in-swimming-through" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">The Euphoria of Cold-Water Immersion in “Swimming Through”</h3></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb cPpCwE summary-item__image-link summary-item-tracking__image-link" href="/culture/the-new-yorker-documentary/the-euphoria-of-cold-water-immersion-in-swimming-through" aria-hidden="true" tabindex="-1" data-component-title="More Videos" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz gKnDpj"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/656f8b6ed7fa207b4d8e5d0a/16:9/w_120,c_limit/swimmingthrough_gif5.gif 120w, https://media.newyorker.com/photos/656f8b6ed7fa207b4d8e5d0a/16:9/w_240,c_limit/swimmingthrough_gif5.gif 240w, https://media.newyorker.com/photos/656f8b6ed7fa207b4d8e5d0a/16:9/w_320,c_limit/swimmingthrough_gif5.gif 320w, https://media.newyorker.com/photos/656f8b6ed7fa207b4d8e5d0a/16:9/w_640,c_limit/swimmingthrough_gif5.gif 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/656f8b6ed7fa207b4d8e5d0a/16:9/w_120,c_limit/swimmingthrough_gif5.gif 120w, https://media.newyorker.com/photos/656f8b6ed7fa207b4d8e5d0a/16:9/w_240,c_limit/swimmingthrough_gif5.gif 240w, https://media.newyorker.com/photos/656f8b6ed7fa207b4d8e5d0a/16:9/w_320,c_limit/swimmingthrough_gif5.gif 320w, https://media.newyorker.com/photos/656f8b6ed7fa207b4d8e5d0a/16:9/w_640,c_limit/swimmingthrough_gif5.gif 640w, https://media.newyorker.com/photos/656f8b6ed7fa207b4d8e5d0a/16:9/w_960,c_limit/swimmingthrough_gif5.gif 960w, https://media.newyorker.com/photos/656f8b6ed7fa207b4d8e5d0a/16:9/w_1280,c_limit/swimmingthrough_gif5.gif 1280w, https://media.newyorker.com/photos/656f8b6ed7fa207b4d8e5d0a/16:9/w_1600,c_limit/swimmingthrough_gif5.gif 1600w" sizes="25vw"/><img alt="The Euphoria of Cold-Water Immersion in “Swimming Through”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/656f8b6ed7fa207b4d8e5d0a/16:9/w_1600%2Cc_limit/swimmingthrough_gif5.gif"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo ptJEE summary-item__dek">In Samantha Sanders’s documentary short, a group of Chicago women find pandemic solace, in a death-defying winter ritual.</div></div></div><div class="SummaryItemWrapper-iwvBff hHqfkN summary-item summary-item--has-border summary-item--article summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-side-by-side summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryItemWrapper-iGxRII djdwgT summary-list__item" data-item="{"dangerousHed":"An Intimate Cartography of Costa Rica in “Direcciones”","id":"655632449547e2ab0c626c5d","index":1,"contentType":"venue","hotelLink":"/culture/the-new-yorker-documentary/an-intimate-cartography-of-costa-rica-in-direcciones","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb cPpCwE summary-item__image-link summary-item-tracking__image-link" href="/culture/the-new-yorker-documentary/an-intimate-cartography-of-costa-rica-in-direcciones" aria-hidden="true" tabindex="-1" data-component-title="More Videos" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz gKnDpj"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/656f5dbf810176153b41c724/16:9/w_120,c_limit/DIRECCIONES_GIF_4.gif 120w, https://media.newyorker.com/photos/656f5dbf810176153b41c724/16:9/w_240,c_limit/DIRECCIONES_GIF_4.gif 240w, https://media.newyorker.com/photos/656f5dbf810176153b41c724/16:9/w_320,c_limit/DIRECCIONES_GIF_4.gif 320w, https://media.newyorker.com/photos/656f5dbf810176153b41c724/16:9/w_640,c_limit/DIRECCIONES_GIF_4.gif 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/656f5dbf810176153b41c724/16:9/w_120,c_limit/DIRECCIONES_GIF_4.gif 120w, https://media.newyorker.com/photos/656f5dbf810176153b41c724/16:9/w_240,c_limit/DIRECCIONES_GIF_4.gif 240w, https://media.newyorker.com/photos/656f5dbf810176153b41c724/16:9/w_320,c_limit/DIRECCIONES_GIF_4.gif 320w, https://media.newyorker.com/photos/656f5dbf810176153b41c724/16:9/w_640,c_limit/DIRECCIONES_GIF_4.gif 640w, https://media.newyorker.com/photos/656f5dbf810176153b41c724/16:9/w_960,c_limit/DIRECCIONES_GIF_4.gif 960w, https://media.newyorker.com/photos/656f5dbf810176153b41c724/16:9/w_1280,c_limit/DIRECCIONES_GIF_4.gif 1280w, https://media.newyorker.com/photos/656f5dbf810176153b41c724/16:9/w_1600,c_limit/DIRECCIONES_GIF_4.gif 1600w" sizes="25vw"/><img alt="An Intimate Cartography of Costa Rica in “Direcciones”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/656f5dbf810176153b41c724/16:9/w_1600%2Cc_limit/DIRECCIONES_GIF_4.gif"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dogWHS summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN lapGFj summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">The New Yorker Documentary</span></div></div><a class="SummaryItemHedLink-civMjp jRfyII summary-item-tracking__hed-link summary-item__hed-link" data-component-title="More Videos" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/culture/the-new-yorker-documentary/an-intimate-cartography-of-costa-rica-in-direcciones" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">An Intimate Cartography of Costa Rica in “Direcciones”</h3></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb cPpCwE summary-item__image-link summary-item-tracking__image-link" href="/culture/the-new-yorker-documentary/an-intimate-cartography-of-costa-rica-in-direcciones" aria-hidden="true" tabindex="-1" data-component-title="More Videos" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz gKnDpj"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/656f5dbf810176153b41c724/16:9/w_120,c_limit/DIRECCIONES_GIF_4.gif 120w, https://media.newyorker.com/photos/656f5dbf810176153b41c724/16:9/w_240,c_limit/DIRECCIONES_GIF_4.gif 240w, https://media.newyorker.com/photos/656f5dbf810176153b41c724/16:9/w_320,c_limit/DIRECCIONES_GIF_4.gif 320w, https://media.newyorker.com/photos/656f5dbf810176153b41c724/16:9/w_640,c_limit/DIRECCIONES_GIF_4.gif 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/656f5dbf810176153b41c724/16:9/w_120,c_limit/DIRECCIONES_GIF_4.gif 120w, https://media.newyorker.com/photos/656f5dbf810176153b41c724/16:9/w_240,c_limit/DIRECCIONES_GIF_4.gif 240w, https://media.newyorker.com/photos/656f5dbf810176153b41c724/16:9/w_320,c_limit/DIRECCIONES_GIF_4.gif 320w, https://media.newyorker.com/photos/656f5dbf810176153b41c724/16:9/w_640,c_limit/DIRECCIONES_GIF_4.gif 640w, https://media.newyorker.com/photos/656f5dbf810176153b41c724/16:9/w_960,c_limit/DIRECCIONES_GIF_4.gif 960w, https://media.newyorker.com/photos/656f5dbf810176153b41c724/16:9/w_1280,c_limit/DIRECCIONES_GIF_4.gif 1280w, https://media.newyorker.com/photos/656f5dbf810176153b41c724/16:9/w_1600,c_limit/DIRECCIONES_GIF_4.gif 1600w" sizes="25vw"/><img alt="An Intimate Cartography of Costa Rica in “Direcciones”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/656f5dbf810176153b41c724/16:9/w_1600%2Cc_limit/DIRECCIONES_GIF_4.gif"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo ptJEE summary-item__dek">In María Luisa Santos and Carlo Nasisse’s short film, addresses suggest an alternative understanding of space and time.</div></div></div><div class="SummaryItemWrapper-iwvBff hHqfkN summary-item summary-item--has-border summary-item--article summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-side-by-side summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryItemWrapper-iGxRII djdwgT summary-list__item" data-item="{"dangerousHed":"Revisiting New York’s Historic Abortion Law in “Deciding Vote”","id":"6554fef50f1de632623b28b9","index":2,"contentType":"venue","hotelLink":"/culture/the-new-yorker-documentary/revisiting-new-yorks-historic-abortion-law-in-deciding-vote","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb cPpCwE summary-item__image-link summary-item-tracking__image-link" href="/culture/the-new-yorker-documentary/revisiting-new-yorks-historic-abortion-law-in-deciding-vote" aria-hidden="true" tabindex="-1" data-component-title="More Videos" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz gKnDpj"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/6566212e58fc112eddd400c1/16:9/w_120,c_limit/DECIDING%20VOTE_GIF_3.gif 120w, https://media.newyorker.com/photos/6566212e58fc112eddd400c1/16:9/w_240,c_limit/DECIDING%20VOTE_GIF_3.gif 240w, https://media.newyorker.com/photos/6566212e58fc112eddd400c1/16:9/w_320,c_limit/DECIDING%20VOTE_GIF_3.gif 320w, https://media.newyorker.com/photos/6566212e58fc112eddd400c1/16:9/w_640,c_limit/DECIDING%20VOTE_GIF_3.gif 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/6566212e58fc112eddd400c1/16:9/w_120,c_limit/DECIDING%20VOTE_GIF_3.gif 120w, https://media.newyorker.com/photos/6566212e58fc112eddd400c1/16:9/w_240,c_limit/DECIDING%20VOTE_GIF_3.gif 240w, https://media.newyorker.com/photos/6566212e58fc112eddd400c1/16:9/w_320,c_limit/DECIDING%20VOTE_GIF_3.gif 320w, 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Her first piece on Iran won the National Magazine Award for best reporting. A former correspondent for the Washington \u003Cem\u003EPost\u003C\u002Fem\u003E, CBS\nNews, the Los Angeles \u003Cem\u003ETimes,\u003C\u002Fem\u003E and the \u003Cem\u003ESunday Times\u003C\u002Fem\u003E of London, she has\nreported from more than a hundred and forty countries. She is also a ... \u003Ca href=\"\u002Fcontributors\u002Frobin-wright\"\u003ERead more\u003C\u002Fa\u003E","dangerousTitle":"\u003Ca href=\"\u002Fcontributors\u002Frobin-wright\"\u003ERobin Wright\u003C\u002Fa\u003E, a contributing writer and columnist, has written for The New Yorker since 1988. 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