DC/DOX 2025: More Documentary Film Reviews from the Festival’s Best Year Yet

By Matt Neufeld
The Washington Film Institute
June 26 and 27, 2025

The annual DC/DOX documentary film festival’s 2025 edition was held from June 12 to 15, 2025, at several movie theaters in downtown Northwest Washington, D.C., and this year marked the event’s best year yet in its three-year history. DC/DOX grew out of the old AFI Silverdocs and AFI Docs documentary film festival that was held from 2003 to 2022 at the AFI Silver movie theater in downtown Silver Spring, Maryland.

DC/DOX’s 2025 festival presented 94 films—-59 feature films and 35 short films from 25 countries. The DC/DOX 2025 festival included 12 world premieres, an international premiere, two North American premieres and two U.S. premieres. Kudos, congrats and thanks to festival co-founders and co-producers Sky Sitney and Jamie Shor and their army of volunteers and staffers for presenting what has become the best film festival in the D.C. and Baltimore region and one of the best, if not the best, documentary film festivals in the country.

A crucial part of any documentary film festival is showcasing unique, groundbreaking, powerful, innovative and even heroic individuals in films that explore that respective person and their concurrent productive, newsworthy accomplishments. At DC/DOX 2025, there were scores of such films. Besides the basic achievements in quality documentary filmmaking demonstrated in these important films, we’re also reminded in these films that even during such backwards-moving, destructive, ignorant, hateful, divided, racist, homophobic, transphobic, xenophobic, insane, corrupt, fascist, authoritarian and constantly devolving times, there are indeed still many intelligent, intellectual, hard-working, fact-based, science-based and academic-based heroes among us who are working every day, despite the biased, psychotic odds against them, to simply make this world a better place.

Thus, here are some capsule reviews of five such films that showcase these heroes, from DC/DOX 2025.

“Into the Dark”

Photographer and artist Pete Mauney has been venturing out into the summer darkness for more than ten years now to capture one of nature’s more exhilarating wonders in photographic art: the firefly, or lightning bug. These harmless little creatures simply appear annually from, generally, depending on their location, late April through October and subsequently perform a natural show that’s beautiful and joyful: searching for a mate, they light up our summer evenings by flashing their built-in chemical colors, performing a dance of light and color in the dusk hours unlike anything else in our summer fields, forests, woods and front and back yards.

Pete’s photographic and artful exploration of these beautiful insects is respectful and honorable. He slyly becomes one with the enveloping darkness, blends into the background, keeps a professional distance, keeps quiet, doesn’t create any noise and disruption, and he lets his camera, his photographic eye and heart, and his natural artistic talents and abilities take over. The result of Pete’s artistic work is a creative catalogue of dazzling, breathtaking and awe-inspiring images of fireflies in their element as they flash on and off and light up and buzz around and entertain the natural world in their own distinctive natural way. It’s just absolutely beautiful.

Award-winning, acclaimed documentary filmmaker and director of “Into the Dark” Fiona Otway beautifully captures all of this beauty in her mesmerizing film—-the natural beauty of the fireflies themselves and the equally naturalistic beauty of Pete Mauney’s photographic art. But Otway adds a third step: She utilizes her insightful filmic capabilities to create wonderfully colorful and dazzling film images to accompany Pete’s work. Thus, the viewer of “Into the Dark” is enlightened, so to speak, on several concurrent and overlapping, but impressive, levels: by the simple beauty of the fireflies; by Pete’s captivating photographic images; by the impressive and dogged hard work that Pete endures to find the right firefly locations, find the right firefly displays and to find that sometimes-elusive right photograph and series of photographs; and by Otway’s subtle explorations of all of the quiet, natural beauty on display.

The result is a unique, breathtaking documentary that takes you into the delicate worlds of nature and artistry, without trampling on the sacred grounds of either world.

“Into the Dark” doesn’t explore in a deep, aggressive, hard-news nature the very real decline of fireflies that the world has been seeing for many years now. But an underlying reference of these insects’ delicate nature in the modern world is implied and referenced. Fireflies are indeed decreasing in numbers at an alarming rate, according to many scientists, biologists, researchers and scientific studies. Man is to blame, of course, thanks to stupid over-development, over-building, pesticide usage, water pollution, light pollution and increased greenhouse gas emissions causing severe global warming and climate change. Thanks to man, fireflies are now a threatened species.

So enjoy the simple, natural beauty of the firefly while we can still can. And thanks to artists like Pete Mauney and Fiona Otway, in case that apocalyptic day does arrive when fireflies suddenly stop putting on their summer evening shows of light and color, we’ll always have these artists’ documentary and documented artistic work to always remind us just how precious, and precipitous, the beauty of the firefly truly is.

“The Birds”

Much like Pete Mauney, film director, producer, writer, cinematographer and inventor Martin Dohrn has spent many years of his life documenting nature. Dohrn has won many awards and acclaim for his films documenting the natural world. He’s also invented several new camera and cinematography filmic techniques. He’s been doing this important work for more than thirty years and, now, at a new phase of his life, his thoughts are veering toward considering his own delicate place in the natural worlds that he’s spent so much time documenting on film.

Thus, the nature documentary “The Birds,” which is, in a good way, very similar in mood, atmosphere, feeling, emotion and theme as “Into the Dark,” examines one man’s dogged, devoted, hard-working and painstaking ever-evolving quest to explore, capture and ruminate on that delicate balance of nature in a respectful, artistic and scientific manner.

In “The Birds,” which, of course, has absolutely nothing to do with Alfred Hitchcock’s disturbing and scary 1963 thriller of the same name, Dohrn ventures to a shoreline area of quiet, detached and remote beauty known as the Wash estuary in England and documents those mysterious, but beautiful, synchronized movements of birds wherein flocks swerve, dip, fly, congregate together and just plain fly in choreographed, simultaneous, similar movements. We’ve all seen it, in our neighborhoods, in the wild, above fields, at the beach, high or low in the sky, just about everywhere: scores of bird flocks that movie together, mysteriously, but majestically, following the same movements up, down and all around. It is this mystery of nature that fascinates Dohrn and his co-director, David Allen, in “The Birds.”

Dohrn and Allen focus on the beautiful spectacle of thousands and thousands of shorebirds doing their sky dancing show at the Wash estuary. The camera follows these birds as they fly, swoop, dive, search for food, enjoy themselves—and precariously avoid sudden capture by a sole dogged and determined peregrine falcon on the hunt for its next tasty shorebird meal. So besides the simple dance of the shorebirds, there’s also a concurrent dance of life and death.

Yet “The Birds” has a third ongoing act: Dohrn’s own introspective, psychological and life-examining journey of self-discovery. For while he and Allen are analyzing the mysterious machinations of these alluring shorebirds, they’re also, at the same time, exploring the equally mysterious machinations of one man’s singular journey in life. So while Dohrn contemplates issues as serious and deep as the circle of nature among these birds, he also contemplates his own circle of life and death. How long can he continue to do this? Is he nearing the twilight of his life? Is his life—-like our delicate fireflies fading into the dark of our collective summer nights, or like that one errant shorebird that’s occasionally captured by that falcon—-suddenly threatened or, one dares to contemplate, nearing the end?

These are deep thoughts, yes, but these deep thoughts of life and death lurk just below every surface of every aspect of daily life and nature on this planet and they exist just below the surface and on the direct surface of every documentary about nature. The circle of life and death dictates every ecosystem, every shaky biological balance, in this world, whether it’s fireflies in the back yard, thousands of shorebirds and one peregrine falcon on a remote English estuary—or the life of one nature documentary human filmmaker. That theme permeates “The Birds” as Dohrn serves as the film’s main character, narrator, presenter and documentarian on camera. The film is about the birds, yes, but it’s also about Dohrn—-and everything else in nature.

The filmic shots of the shorebirds are, as are the shots of the fireflies in “Into the Dark,” captivating, mesmerizing and beautiful. Even if and when the falcon does catch one of the shorebirds, it’s not unnecessarily brutal or graphic—the viewer realizes it’s just part of that ever-present circle of life and circle of nature.

As for Dohrn, if he, and Allen, have the talent, creativity and insight to produce documentary films as beautiful as “The Birds,” then there is, happily, plenty of life yet to be lived in Dohrn’s experienced, entertaining mind and heart. There’s much more film in the can for this longtime filmmaker. We can’t wait for the next nature documentary film to continue this particular life journey.

As for those shorebirds, and, yes, that pesky falcon, may they, too, continue their beautiful dances in the sky.

“Love Birds”

Amazingly, for most of the unfortunate civil and human rights history of the United States, gay people have been criminally, corruptly, illegally, unconstitutionally, and insanely persecuted, oppressed, attacked, beaten, brutalized, harassed, blackmailed, murdered, discriminated against, forced into submission and secrecy, and nightmarishly and astonishingly prohibited from holding certain jobs, obtaining certain basic human and constitutional rights and getting married and having children. All true, all shocking, all horrific and all unbelievable.

This is in the United States, an intended constitutional democracy, mind you—where all men (the word men used in this context actually means men, women and children–look it up!) are supposedly created equal; where life, liberty and the pursuit of happiness are supposedly supposed to be available to every citizen; and where “we the people” is supposed to apply to, well, we the people. Ah, but if any of that were truly true in this confused country and its mentally- and intellectually-confused history.

In 1972, many of the fissures in this sad history of discrimination and madness against the gay community were, thankfully, starting to break, crumble and even die. The Sixties and Seventies, thank goodness, saw a refreshing, positive, productive and most welcome sexual revolution that started the modern era of open and forward-moving gay rights. 1972 was only three years removed from the 1969 Stonewall uprising and demonstrations, a series of protests against the wholly corrupt, illegal and literally psychotic police raid—-it was a discriminatory terrorism act, in reality, not a law enforcement procedure—-against the Stonewall Inn bar in the Greenwich Village neighborhood in Manhattan, New York City. The attack on the Stonewall Inn galvanized the gay rights movement, led to a new, productive era and energy for gay rights, and even led to the start of the annual Pride festivals, which just culminated in the fiftieth anniversary of Pride with the huge, sprawling World Pride celebration that was held in D.C. in May and June, 2025.

But back in 1972, things were still different and dangerous for gay folks and gay rights—awful and productive at the same time, yet still, bit by bit, fight by fight, legal action by legal action, slowly moving forward to normalcy and common sense. Who would have ever thought that a flock of seagulls peacefully, quietly, birdlikely going about their avian business on one of the Channel Islands in California suddenly would be another important milestone in the gay rights movement?!

Yet that’s exactly what happened.

Thanks to the groundbreaking 1970s scientific research of young married University of California–Irvine biologists Molly Warner and George Hunt, two extraordinarily intelligent, insightful and talented academics, and based on the initial discovery by Molly, they discovered that scores of female seagulls on the remote Santa Barbara Island off the coast of Southern California, were pairing up with each other to raise, mother, feed, nourish and love young chicks. And thanks to that discovery, the course of scientific research on animals, biology, anthropology, homosexuality in animals and homosexuality in humans would be abruptly changed, propelled forward and jolted into the modern world.

That’s right, Molly discovered that numerous female-female pairs of seagulls on the island were literally hooking up, even to the point of trying to mate each other, and raising families of healthy eggs in their nests. That’s female-female seagulls. And the numbers of eggs being cared for by these female couples were increasing and thriving. The discovery by Molly, at the time, was shocking and revolutionary in science, biology, environmental studies, anthropology and evolution.

Soon George, who was teaching on shore at Irvine while Molly conducted her early, initial studies on the island, joined Molly on the island so the two scientists could increase their levels of scientific study of the phenomenon. They did exactly what scientists are supposed to do: they conducted fair, objective, steady, careful, complete scientific studies to back up their findings. And when they compiled their findings, after scores of documented scientific research, what do you think happened in the early 1970s scientific community? Scores of scientific journals turned down Molly’s and George’s science papers on the “gay gulls,” as the female-female seagulls would come to be known. Real, actual scientific journals were scared of appearing to accept, approve and back research that supported homosexual, or gay, behavior in the animal kingdom, no matter how scientifically and thoroughly documented Molly’s and George’s research actually was.

This can appear, somewhat, surprising in 2025—even though gay rights are under attack yet again by homophobic, authoritarian political conservative Republicans yet again–but 1972, despite the achievements in gay rights that were being made, was amazingly still an horrific, backwards, barbaric time for gay rights. Government offices at every level, would not hire openly-out gay people. Openly gay people could not work in intelligence, in the military or at the federal Defense Department. Gay people could not get married or raise children. Gay people were still being harassed, beaten, attacked, murdered, blackmailed and discriminated against. And, in many states in the United States, gay sex was actually illegal! Unbelievable.

So it was in this climate that Molly and George tried to get their scientific study on gay seagulls published. Finally, in June of 1977, the heroic journalists and scientists st Science magazine published Molly and George’s paper, “Female-Female Pairing in Western Gulls, Larus Occidentalis in Southern California.” And the world went ballistic.

The scientific community erupted. The journalistic community erupted. Every community, it seemed erupted. And the gay rights movement exploded, positively, into yet another new step forward. Molly and George received media calls from literally around the world—-newspapers, magazines, television reporters. They became celebrities and their scientific work was celebrated, cherished, recognized, praised and respected.

And, yes, gay gulls became a symbol and mascot for the gay rights movement.

The discovery of gay gulls opened up very real, very serious scientific studies of—-and scientific confirmation of—-homosexual behavior by scores of animals throughout the animal world. Bats, lizards, deer, giraffes, buffalo, sheep, goats gorillas, chimps, and even dolphins, seals and whales, all do it, the studies found. Really.

George theorized that in the case of the Santa Barbara Island seagulls, the pesticide DDT had affected male seagulls more than female seagulls, and that subsequently caused a drop in the male population, and that subsequently prompted the female seagulls to pair up as couples. And those female-female pairings subsequently increased their egg production, and they paired up to nest and protect the eggs and to raise the newborn chicks.

This entire engaging, compelling and inspirational story, is excellently and wonderfully told in the documentary film “Love Birds,” directed with compassion, intelligence and warmth by award-winning filmmakers Elliott Kennerson and Angel Morris. The documentary film itself is as inspirational, uplifting and hopeful as the real-life story of Molly’s and George’s research and it’s impact on real science and the gay rights movement. Kennerson and Morris utilize a trove of archival footage and modern-day interviews, all told with a firm stance grounded in real science, research and facts.

As the male gull population rebounded after the DDT ban, the female-female seagulls phenomenon on the Channel Islands slowly ebbed and ultimately disappeared. But those scientific biological studies have confirmed those other gay behaviors elsewhere in the animal kingdom. And while many positive steps forward have been in regards to human gay rights, 2025 is proving to be a difficult year, and the civil, legal, human rights and constitutional fights continue.

Molly Warner attended the screening of “Love Birds” in D.C. at DC/DOX 2025, and I asked her if she enjoyed the film. She said she did, and she praised the filmmakers for keeping this important, timeless story alive.

And it was appropriately noteworthy to note that “Love Birds” screened just one week after World Pride 2025 concluded its successful, popular month-long run with a huge parade through downtown D.C. on June 7, 2025, and a huge two-day street festival on Pennsylvania Avenue NW in downtown D.C. on June 7 and 8, 2025. Those events were attended by hundreds of thousands
of people from across the country and from around the world.

And even though World Pride and DC/DOX have ended their successful 2025 runs, across the country and around the world, the seagulls continue to fly.

“State of Firsts”

In November, 2024, Sarah McBride, Democrat, was elected as the first openly transgender member of the U.S. Congress, winning a seat in the U.S. House of Representatives to represent Delaware. She was sworn in as U.S. Rep. McBride in January, 2025. She was previously a Delaware State Senator from January, 2021, to January, 2025. Before that, she was the press secretary for the Human Rights Campaign from 2016 to 2021.

Although McBride, 34, handily and quite successfully won her election to the U.S. House with strong, enthusiastic support from her constituents and the Democratic Party, including obtaining support from fellow Delawarean President Joe Biden, the road to federal office and national acceptance has not been easy for her.

McBride, despite a thoroughly positive, upbeat, optimistic, engaging, enthusiastic and generally loveable personality, an obvious intelligence and a natural, inherent gift for grassroots politics, and despite always appearing anywhere accompanied by a smile and a general cheerfulness that is contagious, still faced, and faces, discrimination, harassment, insults, opposition and even downright offensive, insulting and unprofessional attacks against her. Her 2024 campaign for the U.S. House was filled with constant biased, prejudiced attacks from conservative, right-wing Republicans, and those insults and attacks continued even after she was sworn into office.

Unbelievable.

“State of Firsts” is a thoroughly engaging, heartfelt, well-documented account of McBride’s 2024 campaign. Award-winning documentary filmmaker Chase Joynt expertly follows McBride from the early stages of her campaign, as McBride literally knocks on doors in friendly, welcoming Delaware neighborhoods, through various staff office planning, managerial and administrative meetings, right through the celebratory, victorious election night.

Through it all, there is the ultimate trooper, manager, leader, inspirational hero and genuine politician Sarah McBride, who never really, truly lets the haters, the naysayers, the negative people and the crazy right-wing attackers get to her; who always doggedly, determinedly and straightforwardly carries on, ever forward, completely willing to live and fight another day and yet another day. And, always, with intelligent insight, common sense, a focus on all of the issues facing her constituents, common sense and that always-engaging personality and big, wide smile. And through it all, she even manages to maintain her quite funny sense of humor.

McBride is smart enough to know that despite her historic campaign run and eventual win, she cannot use or capitalize on her transgender identity as a gimmick, one-trick-pony or singular focus. She knows and states that, yes, her transgender identity is important, but the reality is, there are a thousand other pressing, equally-important issues facing her, her constituents, her office, her state and her country. And her always-eloquent words, comments, interviews and speeches back up her conviction to work for all of the people on all of the issues. And that bolsters everyone’s confidence, support and respect for McBride.

It’s absolutely euphoric to be right there, in the depth of the campaign headquarters with McBride and her smart, experienced and loyal staffers and volunteers, on election night 2024 as the results come flying in, clearly showing and ultimately confirming McBride’s historic victory. You feel the joy, the happiness, the relief, and yes, the history as McBride and her campaign workers celebrate. It’s a genuinely historic campaign and election moment, and Joynt and his crew are right there to document everything.

With her victory to the U.S. House, McBride is now the highest-ranking openly transgender elected official in the United States. Imagine that.

“State of Firsts” shows that, despite open, illegal discrimination and harassment of gay and trans people by right-wing Republicans and the Trump administration, there is indeed plenty of room for major victories in the gay rights movement in 2025.

It’ll be interesting to see who the next openly transgender member of the U.S. House and the U.S. Senate will be. Whomever that person will be, they can be sure they’ll have a most understanding colleague and staff just down those crazy, confusing and wayward halls of power at the office of U.S. Rep. Sarah McBride, Delaware Democrat.

“The Last Class”

Consider the prestigious, quite impressive case of one Robert Reich, one of the most respected, admired, praised and complimented economists, teachers, lawyers, authors, politicians, professors and lecturers in economics, business, finance, labor and commerce in the last sixty years. And that’s just all true, with no exaggeration, as one needs to only look at Reich’s impressive resume to back up those complimentary accolades.

Robert Reich’s impressive career actually started while he was an undergraduate and graduate student. He received his bachelor’s degree in history from Dartmouth; he received his master’s degree from the University of Oxford, where he was a Rhodes scholar; and he received his law degree from Yale. White at Dartmouth, Oxford and Yale, he befriended Bill and Hillary Clinton. He edited the Yale Law Journal. From this impressive educational start, Reich never looked back and he subsequently embarked on a professional career that was just as impressive as his collegiate academic career.

Reich held various high-ranking economic positions in the Ford, Carter, Clinton and Obama administrations. He was President Bill Clinton’s Secretary of the U.S. Department of Labor from 1993 to 1997. He was a member of President Barack Obama’s Economic Transition Advisory Board. In the higher education field, Reich taught an estimated 40,000 college students for 40 years at the University of California, Berkeley; at Harvard University’s School of Government; and at Brandeis University. Reich has written six bestselling books on economics and business. He has published scores of academic papers. And he has co-produced two acclaimed documentary films about economics.

Recently, Reich decided to retire from his college teaching career. As often happens with retirement decisions, especially when one is still at the top of his or her game, as Robert Reich most certainly is today and as he definitely was when he retired, the decision is accompanied by conflicting, confusing and wavering emotions of self-doubt, questions about the decision itself, defeat, depression, weariness, twilight-of-life thoughts, and, basically, nagging questions such as, “Am I going to miss being in the spotlight; will I miss doing what I’m doing and have always been doing; what if I still have something worthwhile to say and do; and…what the hell am I going to do now?”

It is these burdensome emotions, feelings and questions that Reich deals with, with a somewhat heavy heart, as he teaches his celebrated last class of his teaching career at Berkeley during one last, emotional, heartfelt semester. And director and award-winning documentary news producer Elliot Kirschner captures all of Reich’s last class in the smart, engaging, introspective and emotional documentary film “The Last Class,” which literally and dutifully follows Reich during his last semester from emotional start to emotional finish.

There are many documentary films about education, of course, but “The Last Class” stands proudly above many of them in terms of overall quality, professionalism, impact and importance.

For “The Last Class” isn’t just a documentary about one man’s last class—-it’s also a documentary about an extraordinary man’s vital, celebrated importance, relevance and contributions to numerous areas of society for decades—-education, politics, law, economics, business, commerce, labor, wealth, equality, sociology, finance, books, films and academic studies. As we watch Reich’s always-fascinating, always-intelligent series of lectures during his last “Wealth and Poverty” class at Berkeley, the viewer is always in awe and aware of Reich’s academic and political and economic intellect, but is also concurrently aware that we’re watching an important national voice at work, and it’s a voice that surely, sorely still needs to be heard, collegiate retirement or not.

Thus, Reich’s conflicting emotions about his retirement; his insightful self-awareness that he is still vital and still needs to be heard, even though he’s moving forward toward his teaching retirement; his purely intelligent teachings, lecturing, observations and academic studies about economics; and the purely entertaining aspects of just watching Reich work in the massive lecture hall and his inherent, warm-hearted connection to and with every student and teaching assistant in that lecture hall, makes for one entertaining, powerful, intelligent and emotional documentary film.

Kirschner is an accomplished veteran of television news, but “The Last Class” is his debut documentary feature film. This is quite the impressive debut in this field. “The Last Class” is engaging, entertaining, moving, heartfelt and important, as noted.

It helps when you have as natural a story as a longtime, celebrated, well-known and nationally-known professor teaching his last class after 40 years. But what really helps is having someone as engaging, captivating, intellectual and naturally charismatic as Robert Reich as that teacher. Reich is always captivating, and it’s a testament to him and his entertaining personality that for nearly every minute of “The Last Class,” the camera is squarely focused on Reich, in the classroom, in his office, and on campus as he meets and talks with respectful, awestruck students. Reich is just absolutely a wonderful person to watch, listen to, learn from and spend time with in “The Last Class.”

Kirschner wisely includes in the film many segments of simple, straightforward capsule moments from Reich’s actual class lectures as Reich dutifully lectures about the very real problems of wealth, economic inequality and poverty in the United States. You don’t have to have an innate understanding of these subjects to understand what Reich is saying and to understand just how important the subject matter is for everyone, no matter if one is rich, middle class or poor. And the subject matter bring imparted in these lecture snippets simply add another layer of importance and relevance to “The Last Class.”

The reality is this, as Reich teaches in “The Last Class:” The economic, business, finance and labor system in the United States is out-of-whack, off-kilter, horribly inequitable, unfair, disproportionate—-and dangerously teetering on the brink of disaster. And it’s always been this way. The 2008 financial disaster was just a singular big blip of danger on a timeline of continuous, constant blips of danger. Reich knows this and he teaches this clearly, astutely, academically and scientifically, without bias, prejudice or political posturing. Reich simply teaches the truth.

And the world needs more truth tellers and truth seekers like Robert Reich. That’s yet another message that Reich and Kirschner impart in “The Last Class.”

Robert Reich may have indeed retired from teaching college classes, but he is not completely retired. And he is not retired from teaching. He sends out a regular e-mail newsletter that readers can sign up for at his website, rbreich.com. He has a new book coming out on August 5, 2025, titled, “Coming Up Short: A Memoir of My America.” And he is still present, active, involved, and he is still speaking up and speaking out.

“The Last Class” rightfully ends with the last words and images of Robert Reich as he’s walking out in public and, seemingly, every other person he encounters says hello and thanks to Reich and tells him how much he is appreciated and loved. That’s how it should be. If you’re going to retire from one aspect of your life with conflicting emotions, it should help to ease those emotions with the comforting knowledge that you are indeed appreciated and loved.

We have not heard the last of Robert Reich. He’s still teaching, and as long we have that, all is right with the world.

Thanks again to DC/DOX for sharing these heroes with the world through these impressive documentary films. That collective appreciative world surely looks forward to enjoying, learning from, bring inspired by and being entertained by the next array of impressive documentary films at DC/DOX 2026.

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