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The tenor of Buckley’s meetings with Vidal is felt in every inch of our society’s contemporary political machine, from the speech of our crop of wannabe commanders-in-chief to the language used by our televised cognoscenti.Our ability to speak the same language has long been fractured, and Best of Enemies tracks the faultlines of that social temblor with remarkable precision. Sunshine Superman Year: 2015 Director: Marah Strauch Sunshine Superman can be a problematic film to love.In The Wolfpack, director Crystal Moselle has nearly unlimited access to the Angulo brothers; at one point they inform her that she is the only person who has ever been invited over to their home, and is the only guest they’ve ever had.Sad and strange, funny and touching, powerful and unsettling, it is so wholly unusual, The Wolfpack may be like no truth you’ve ever seen before. Welcome to Leith Year: 2015 Directors: Michael Beach Nichols, Christopher K.on Netflix are mostly assembled from movies released after 2000.Whether due to licensing fees, a lack of interest or both, Netflix continues to substantially scale back on its pre-Y2K catalog, featuring only 37 documentaries from before the turn of the Millennium, and a whopping 19 docs to be released before 1990.Perhaps unsurprisingly, the service has also within the past year or so purged its once-thick 30 for 30 cache, as well as a bunch of films that seemed like mainstays: The Act of Killing, Liz Garbus’s Girlhood, Muscle Shoals and Grizzly Man.

But what saves the film, and what makes it engaging, is that I’m not sure Garbus wholly believes that thesis, because many moments in the film betray it.

So even though there are times where Garbus elides aspects of Simone’s life and career to represent her decline as inevitable and linear (and even though she problematically chooses to use interviews with Simone’s abusive ex-husband to narrate Simone’s life), the parts of the film where Simone is allowed to speak for herself—from her diary, from interviews, while performing onstage—are utterly compelling.

They portray an artist in the late-1960s at the height of her powers and skill, in complete control of her piano and her voice, and brashly embracing radical politics and Black Power in a way that most contemporary popular musicians were far too scared to do.

Walker In a nondescript corner of America, members of a community of 24 know well and look out for one another. A nice-enough stranger takes an interest in their town.

He quickly buys up tracts of land and becomes one of the biggest stakeholders in the area.

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