Now in its 24th year, MoMA’s annual Doc Fortnight festival presents adventurous new nonfiction and hybrid fiction cinema from around the world.

Festival Schedule:

2:00 p.m: Bogancloch

2024. UK/Germany/Iceland. Directed by Ben Rivers. US premiere. 86 min.

Like some long-lost calotype of the pioneering 19th-century Scottish photographers David Octavius Hill and Robert Adamson, Ben Rivers’s Bogancloch is an almost transcendentalist portrait of man and nature, witnessing (and staging) Jake Williams, a forest dweller, as he weathers the Scottish wilds with quiet dignity and rugged self-reliance. A bewitching alchemy exists between the filmmaker and his protagonist—reflected in Rivers’s coruscating 16mm celluloid cinematography—as the man we’ve observed for more than a decade in previous collaborations like This Land Is My Land, More Than Just a Dram, and Two Years at Sea now faces down his own mortality.

Location: The Roy and Niuta Titus Theater 2

4pm: GEN_.

2025. France/Switzerland/Italy. Directed by Gianluca Matarrese. New York premiere. In Italian, English; English subtitles. 104 min.

At a Milanese public hospital for gender transition and infertility assistance, one of the few of its kind in Italy, Dr. Maurizio Bini presides over a team of medical professionals who provide humane, ethically responsible care in brave defiance of a conservative government and a profiteering pharmaceutical industry. Filmmaker Gianluca Matarrese makes all-too-human the abstractions of in-vitro fertilization and gender-affirming therapies as the women and men who pass through Dr. Bini’s clinic, seen at their most vulnerable and resilient, seek the fullness of life in their wish to have a child or realize their true identity.

Location: The Roy and Niuta Titus Theater 1

4:30 p.m: Dad’s Lullaby

2024. Ukraine/Romania/Croatia. Directed by Lesia Diak. US premiere. In Ukrainian; English subtitles. 78 min.

In her debut feature documentary, Lesia Diak observes 45-year-old Serihy Zinchuk, a Ukrainian soldier who returns from three harrowing years on the Eastern front to a fragile peace with his wife and young sons. In between moments of intimacy, tension, and loneliness, the filmmaker suddenly has the soldier turn the camera on her, and as she opens up about her own childhood experiences and her recent relationship with a war veteran, the emotional complexities of Dad’s Lullaby deepen further. “Maybe that’s one of the reasons why I have such deep empathy for male characters in my film—and for men in general,” Diak recalls, “because I witnessed it so closely, and it really broke my heart. When I witnessed similar experiences in the Zinchuk family, for instance why they are not more understanding of each other after this long separation, how they need to learn from scratch how to live their lives together again, it reminded me of many cases of separation, not least the case of my own family.”

Location: The Roy and Niuta Titus Theater 2

7:00 p.m: CHAOS: The Manson Murders

2025. USA. Directed by Errol Morris. Courtesy Netflix. 96 min.

Doc Fortnight 2025 comes to a close with the world premiere of Errol Morris’s CHAOS: The Manson Murders, which posits new theories, and discredits old ones, about the notoriously savage slayings. Helter Skelter, Once upon a Time in Hollywood, Charlie Says, The Girls—countless attempts have been made to fictionalize, romanticize, and capitalize on the 1969 killing spree, so much so that from the very start it became almost impossible to separate fact from fantasy about what really happened. Enter Errol Morris, cinema’s greatest epistemologist, a detective manqué who reopened cold cases and speculated on coverups in films like The Thin Blue Line and Wormwood. Here Morris casts doubt on the official story of the Tate-LaBianca murders, spinning a web of conspiracy involving the CIA, LSD, Jack Ruby, the Manson Family, and Vincent Bugliosi.

Location: The Roy and Niuta Titus Theater 1