Daniel M. Gold

Know How is a robust, youthful call to be seen, heard and appreciated — to be a little less invisible.

This vivid and haunting essay steps away from the debate about illegal immigration.

It powerfully insists on giving a voice to victims whose greatest challenge, apart from their symptoms, is surmounting a world of indifference.

In this time of mass displacement across the globe, it is a stark reminder of how traumatic the refugee experience often is.

It’s surprising there has never really been an extended cinematic exploration of the band. Long Strange Trip, ambitiously assembled and elegantly directed by Amir Bar-Lev, fills that void.

This slow-paced, cut-to-the-bone drama ought to be gripping, especially as the jungle and its beasts make their presence felt. But curiously, Ardor lacks tension, maybe because the actors are playing archetypes: Little is said, and there are few surprises.

This absorbing account is hardly definitive, but it teaches movement building without denying the high costs paid by true believers.

As an overview of the issues, the history and the players, Starving the Beast makes a powerful survey course, a prerequisite for further studies.

Roger Gual’s half-baked film hopes to split the difference between romantic comedy and foodie delight but fails at both.

While affirming the dignity of its subjects, Mala Mala shows there’s little glamour attached to the pursuit of selfhood.

The Battered Bastards of Baseball is an affectionate scrapbook of a documentary.

A fascinating account of off-the-books diplomacy in the 1980s, “Plot for Peace” is that rare documentary that both augments the historical record and is paced like a thriller.

It shares a side of Mr. Vedder his fans will enjoy: the baseball aficionado who fills out a scorecard and treats Wrigley sod as holy ground.

The movie is choppy and rushed — a bumper-car ride that somehow fits the rough-and-tumble era it recalls.

The Wildlike landscapes are exhilarating, but when the film works, it’s because of the interiors.

All the film’s segments are smartly assembled and gracefully paced.

Despite its oversights, the film — shot and scored beautifully — is an enthusiastic introduction to this delirious event and its peposo of passion, style and intrigue. As the Sienese like to say, the Palio is life.

With a soft tone, respectful to opponents but insistent on the data, Food Evolution posits an inconvenient truth for organic boosters to swallow: In a world desperate for safe, sustainable food, G.M.O.s may well be a force for good.

As the film makes abundantly clear, if left untreated, contagions — of ignorance, fear and conflict — will spread wherever they can.

Directed slickly by Paul Dugdale, “Olé” is less a concert film or travelogue than a historical account — swiftly, smartly assembled, reflecting events only six months old.

An essential amendment to the historical record, Censored Voices reminds us that no war is entirely virtuous and makes clear that, even at the time, the dangers of becoming an occupying force were evident.

As a tribute to NASA, A Space Program is rich in the core elements that have always propelled humanity’s flights of fancy: imagination and the right tools.

Paced by Eddie Palmieri’s up-tempo, percussive score, “Doin’ It” bounces like a crossover dribble, gliding swiftly and surely through interviews, videos and history lessons, then transitioning to today’s dedicated ballers and playground culture.

An achingly poignant documentary.

The filmmakers have skillfully laid out a complex and murky story of crime and justice that, more than 30 years on, continues to scandalize.

Smartly directed by Jeremy Sims, this sweet-hearted film mostly manages to avoid triteness even as it casually packs an emotional punch.

Mr. Shirai nicely shuffles in the back stories of several workers, and his shots of sky, sea and early morning landscapes could fit amid Hokusai woodcuts.

Ms. Vreeland has paced her documentary well, a chapter to each era, with hundreds of beautiful images spanning decades of artists, galleries, parties, scenes. She also makes good use of interviews Guggenheim gave to a biographer a couple of years before her death in 1979.