COOKIE QUEENS (2026, doc)

August 6, 2026

Greetings again from the darkness. “Would you like to buy some Girl Scout cookies?” It’s a familiar pitch we hear every year at grocery stores, our front doors, and even at the office as co-workers spread the word on behalf of their scouting daughters. With an annual hankering for Thin Mints, we gladly exchange our cash for a box … or two or three. Documentarian Alysa Nahmias takes an unusual approach to this ritual of local Girl Scouts selling sweets. For historical perspective, the film opens with archival footage covering decades of boxed goodie transactions initiated by girls in the familiar vests.

Should anyone doubt the size of this venture, we are informed that Girl Scouts sell $800 million in cookies over the six-week period each year. The $6.00 per box is divided up into shares for the cookie bakers, the Girl Scout corporate offices, the Girl Scout councils, and $1.10 goes to the Girl Scout troops, and yes, the individual Girl Scouts (through prizes). Nahmias makes this a personal story by following four girls of varying ages as they work their way through cookie season.

Olive lives in North Carolina. She’s twelve years old and holds the record by selling more than 8000 boxes. We hear her teaching younger scouts about ‘upselling’, and then Olive answers a customer’s question by stating she wants to become a Supreme Court justice. She’s remarkably well-spoken and media savvy. Her dad video records her personal pleas for cookie sales and then uploads the videos to her dedicated website.

Chino, California is where we find nine-year-old Nikki, who desperately wants a trophy like the one her older sisters, Nyah and Nala, won for being top cookie sellers in the area. A trip to Europe is now on the line, and it’s interesting to watch as the older scouts position ‘cute’ Nikki to draw in customers, many who think the older girls are too old for scouting.

Shannon Elizabeth is eight years old and has a goal of selling 2750 boxes in El Paso so that she can attend this year’s summer camp. It’s in this house where we see the burden carried by parents becomes crystal clear. Lastly, we have five-year-old Ara in San Diego. She struggles with diabetes and is whip-smart, although her tiny frame struggles to pull her red wagon loaded with cookies. Ara’s original goal is 45 boxes, but that shifts to 55 as the weeks go by.

Rather than ooh and ahh at the girls giggling their way through group activities, we are left feeling the weight of cookie selling – both on the girls and their families. There is definitely an upside to the life lessons of setting goals, possessing the self-confidence to talk to adults, and developing a work ethic and commitment to individual and team objectives. But according to the film, families must now financially commit to a certain number of cookie boxes, and then those are either sold by the girls or the parents are on the hook. This is a change from the old days when it was common for friends and family to place orders ahead of time, and the troop would order extra product for the public booth sales. It’s a bit nerve-racking to see what these parents and kids go through, whether they are selling thousands of boxes or a few dozen. The interactions between the parents and girls is quite something to behold.

One of the benefits of Girl Scouts is the push for being a well-rounded person, and we see young Ara as she does Pilates and plays the piano. By the end of the film, Olive’s activism has her leading the charge for a bigger share of proceeds going to the girls at the troop level … this after her own emotional crisis and battle with her mother over whose goals they have set. There is a lot going on in this film and I recommend a crunchy Do-Si-Dos to calm your nerves while watching.

Opening in theaters on August 7, 2026

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Posted by David Ferguson

BABY DOE (2026, doc)

July 16, 2026

Greetings again from the d arkness. While I certainly value the importance of fiction and creativity, I choose to watch so many documentaries because I’m also a fan of real life and the truth. However, the truth is often anything but uplifting and such is the case with this film from Jessica Earnshaw as she tells the story of Gail Ritchey and the “Geauga’s Child” case.

DNA evidence links Gail to a horrific unsolved case thirty years prior, in 1993. A dead newborn baby was found roadside in rural Ohio.  Gail is a mother, a wife, and a grandmother. While being interrogated, she says she did not know she was pregnant and claims the stillborn baby dropped in the toilet, catching her by surprise. It was her religious community, and the fear of repercussions, that led her to bag and dispose of the baby … keeping the secret all these years. Most crime documentaries would focus on the case and setting Gail up for life in prison; however, Earnshaw’s approach is much more complex.

All parties involved are provided with the opportunity for input. This includes her husband Mark, their daughter Courtney, her neighbors, fellow church goers, law enforcement, medical providers, and the psychologist who explains the phenomenon of ‘pregnancy denial.’ Hearing from family, church, and community delivers a much different perspective for viewers than a simple courtroom drama answering whether she do it or not.

We see Gail in many different situations, and some may even find her sympathetic at times. The film digs into the power flex of religion, especially on youngsters when it comes to pre-marital sex. Gail’s mental state at the time seems fairly clear as she and Mark secretly skirted church rules, and a later disclosure from Gail almost assuredly removes whatever sympathy one might have held for her. The key with this film is in our perception and understanding of Gail at the time … and that makes it much more thought-provoking than initially thought.

Available in select theaters July 10-16, 2026, at DCTV (New York City), July 14 at Laemmle Glendale (Los Angeles), July 15 at Laemmle Noho (Los Angeles), and July 19th at The Roxy (San Francisco)

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Posted by David Ferguson

PETER ASHER: EVERYWHERE MAN (2026, doc)

June 26, 2026

Greetings again from the darkness. This documentary opens with Steve Martin sitting on the sofa conversing with his friend Peter Asher. An early point is made that defining or labeling Peter Asher is a bit challenging, and co-directors Daniel Geller and Dayna Goldfine (collaborators for more than 35 years, including HALLELUJAH: LEONARD COHEN, A STORY, A SONG, 2021) then proceed to spell out his remarkable career and his impact on music and the music industry. Perhaps the closest comparison we can offer is that of the recently deceased music executive, Clive Davis. Two influential men who brought passion to the work.

Asher was a redheaded child actor along with his sister Jane Asher. She has gone on to have an acting career spanning 70+ years (still going), while Peter shifted into music and initially became famous as one-half of the duo Peter and Gordon, part of the infamous British Invasion. Peter and Gordon Waller met at school, and though their personalities couldn’t have been much different, their vocal styles perfectly harmonized – not unlike the singing duo they worshipped, The Everly Brothers. Sister Jane entered into a quite serious relationship with a young fellow named Paul McCartney, and Paul and Peter became fast friends thanks to a shared love of music. A single moment worthy of the price of admission is hearing the original recording of Paul’s demo of “A World Without Love”.  A McCartney song that became the first hit for Peter and Gordon.

When profiling someone who has been this influential, it’s often best to allow the beneficiaries to have their say. That’s exactly what Geller and Goldfine do. Some of these are interviewed for the film, while some are from archival footage, and among those we hear from: Jane Asher, Peter’s daughters, Paul McCartney, Marianne Faithful, Carole King, James Taylor, Twiggy, Danny Kortchmar, Leland Sklar, Robin Williams, and Linda Ronstadt. Since the full list is even longer, the directors include a slide show of singers, bands, and entertainers whose careers have all been touched by Peter Asher. It’s quite a segment.

I’ve long enjoyed (and learned from) Peter Asher’s work on The Beatles channel on Sirius Radio, and this profile offers even more – including details on the Indico Art Gallery, and Peter’s reunion with Gordon for a benefit performance. Gordon later passed away in 2009. For those who enjoy music history, few documentaries are more informative than this one on a true overlooked influencer.

In Theaters Beginning June 19th in NYC

Before Expanding to LA and Markets Nationwide Beginning June 26

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Posted by David Ferguson

GREGG ALLMAN: THE MUSIC OF MY SOUL (2026, doc)

June 12, 2026

Greetings again from the darkness. The songs are part of music history: “Whipping Post”, “Midnight Rider”, “In Memory of Elizabeth Reed”, “Melissa”, and “Ramblin’ Man”. Their album, “Live at Fillmore East”, is considered one of the best live albums of all time. The Allman Brothers paved the way for a couple of hugely Southern rock bands, Lynyrd Skynyrd and the Marshall Tucker Band, and they were influential to the work of countless other bands and musicians. Of course, a documentary about Gregg Allman must include much about the band, yet documentarian James Keach does tremendous work here maintaining the focus on the man. Mr. Keach is mostly retired from a long acting career, yet he’s continued to take on directing gigs across the past thirty-plus years – including  a couple of other documentaries on musicians: LINDA AND THE MOCKINGBIRDS (2020) and GLEN CAMPBELL: I’LL BE ME (2014).

Keach used a 2014 interview given by Gregg as the foundation for this profile. Sure, it’s unusual to have such a reluctant rock star, but if somehow nothing else shines through as you watch this, you’ll certainly come away recognizing the Gregg Allman was a shy and sensitive man who dodged the spotlight when not on stage. Wait a minute (you might say) – didn’t he marry Cher at the height of her pop star career (not exactly low key)? The answer is yes, and as Cher notes here, they separated just a few days after the vows – turns out Gregg was not willing to live his life as a full-blown celebrity. The point of all this is that the rarely seen 2014 interview offers the only glimpse of himself that we get from Gregg. The rest comes from those he knew, those he married, the kids he fathered, and musicians he played with and influenced (Chuck Leavell, Jackson Browne).

Gregg was prolific at two things: songwriting and getting married (7 wives). But he was only really good at the former. His distinctive singing voice tears into the guts of “Whipping Post”, while capturing the bluesy longing of “Melissa” (a song Gregg wrote as a homesick 17 year old). We learn that even though Gregg was first to play guitar, big brother Duane took it over and Gregg began a love affair with a Hammond organ. Duane went on to become a legendary session man and then the leader of the Allman Brothers band. Keach includes some terrific photos of young Duane and Gregg together, and we hear the childhood stories – including the murder of their father.

As you would expect for a band creating a new sound, things were not easy. Band names (Allman Joys, Hour Glass) preceded Allman Brothers, as Gregg was the last to join. It was their 1971 live album, “At Fillmore East”, that rocketed the brothers and the band to fame. Tragically, a motorcycle accident killed brother Duane shortly thereafter. He was only 24. The band managed to stay together, but the shock deeply affected members of the band, especially Gregg (drugs and alcohol became a problem) and bassist and founding member Berry Oakley (also from a motorcycle accident).

We hear stories from some of Gregg’s wives and daughters, as well as his musician son, Devon. The humanity of the man is crystal clear as those closest to him recount his life – one in which he ultimately got sober. In 2014, Gregg and others collaborated on the “All My Friends” benefit concert after Gregg revealed he had liver cancer. He and another founding member of the band, Butch Trucks, died in 2017, while Dickey Betts passed in 2024. Drummer Jaimoe is the only surviving member of the Allman Brothers band formed in 1969 Jacksonville, Florida. Documentarian James Keach has delivered a stellar profile of Gregg Allman the man, while also paying tribute to the band, the songs, and the family.

Opens in theaters on June 17, 2026

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Posted by David Ferguson

GEORGIA O’KEEFE: THE BRIGHTNESS OF LIGHT (2026, doc)

May 30, 2026

Greetings again from the darkness. The “Mother of American Modernism”, while impressive as a moniker, seems to fall short in describing the impact, influence, and lasting legacy of artist Georgia O’Keefe. Oscar winning director Paul Wagner (short film THE STONE CARVER, 1984) has put together one of the most comprehensive and detailed biographical documentaries I’ve seen, and he couldn’t have selected a more deserving subject.

The film opens with an O’Keefe retrospective in Europe … the area’s first real exposure to her work. It’s rare for someone to be so famous and influential in the states, and yet relatively obscure in Europe. One gallery exhibit changed that. Most of us recognize O’Keefe’s work through her use of color and the ties to nature. It’s fascinating to see the path she took towards being the most important female artist of the twentieth century. Mr. Wagner delivers an encompassing profile, beginning with her birth in 1887 on a Wisconsin farm – even showing us the oldest known O’Keefe drawing – a 1901 sketch of laundry day.

Sprinkled throughout the presentation are archival clips from 1960 and 1977 on camera interviews that O’Keefe sat for, as well as numerous other video clips and photographs. The sheer volume of photographs is not surprising given her connection to renowned photographer and art promoter Alfred Stieglitz. The two eventually married, but the professional side may have eclipsed the personal in regard to importance. O’Keefe was a favorite subject of Stieglitz and his camera, and Wagner doesn’t shy away from showing us some of the more risqué shots – a side of O’Keefe rarely seen.

So many things stand out about O’Keefe’s life, and her travels around the country are quite startling, given the era. We trace her from Wisconsin to Virginia to New York to Texas and ultimately New Mexico, where many of her most famous works were crafted. This is a woman who enjoyed life in a NYC skyscraper, a home at Lake George, the dusty plains of Texas, and the New Mexico desert. The energy she drew from bones, skulls, antlers, rocks, and trees all inspired her work and her way of living. Her ‘Ghost House’ in New Mexico was isolated, keeping her connected to nature.

Georgia O’Keefe passed away in 1986 at the age of 98. We learn that at an early age she stopped painting for four years, and we also learn that what brought her back to the canvas was the idea that art begins with abstraction, rather than recreating the works of others. We hear perspectives from an impressive lineup of professors, biographers, curators, and art experts. These are the folks who can adequately place O’Keefe in historical perspective. She’s now a symbol, and this Paul Wagner documentary should be sought out by all aspiring artists and anyone looking to blaze their own trail in life.

A nationwide digital launch begins June 1 on Apple+, Prime Video, Google Plus, and more

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Posted by David Ferguson

GROUNDSWELL (2026, doc)

May 20, 2026

Greetings again from the darkness. There haven’t been many documentary trilogies over the years, yet this is the third in a series from husband-and-wife documentarians Joshua Tickell and Rebecca Harrell Tickell. The first two were KISS THE GROUND (2020) and COMMON GROUND (2023), and all three deal with the importance of regenerative agriculture … a solution to our food problem and, it’s no exaggeration to say, the key to our future.

The film clearly defines regenerative agriculture and explains the importance of the movement. The bottom line is that decades of industrial agriculture (designed to feed an exploding population and maximize profits) has degraded farmland soil to the point that entire ecosystems have been damaged and biodiversity lost. Thousands of farms across five continents have been studied and the film takes us trotting around the globe to witness both the damage and the efforts to turn things around. We learn the importance of elephants in Kenya, how coffee crops in Columbia have been affected, and what damage in Brazil’s Amazon region has meant. We also learn how India is working to reverse the severe negative impact of industrial agriculture by transitioning to regenerative farming.

For skeptics, it should be noted that this is not some extreme liberal theory that the other side tends to dismiss so easily. Regenerative agriculture means the healthy soil better holds carbon and water to enhance the global ecosystem of fungi-plants-animals. The solutions exist, and some steps are as simple as having cows rotate pastures for grazing. We are reminded that, if we allow it, nature can heal itself. Birds are the best indicator that the system is healthy … the importance of birds could fill another documentary.

Actors Woody Harrelson and Demi Moore once starred as husband and wife in the 1993 film INDECENT PROPOSAL. Here, they narrate the Tickells’ film and explain that the very achievable goal is one billion acres transitioned to regenerative agriculture … that’s ten percent of the world’s farmland. The reward for saving the soil is that it also saves our climate and our food source … meaning it also saves our world. We are cautioned, “Don’t treat soil like dirt”. It’s a catchy phrase delivering a vital message. Joshua and Rebecca Tickell have been awarded the Golden Globes Prize for Documentary at this year’s Cannes. If this advice is followed, much bigger awards await.

The film will release on Prime Video this summer.

Trailer not available at this time

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Posted by David Ferguson

THE HYBRIDS (2026, doc)

May 20, 2026

Greetings again from the darkness. Are there alien-human hybrids living amongst us right now? That’s the question documentarian Serena DC is looking to answer with this latest. She is a published author and talk show host, and has directed other documentary projects with subjects from ‘beyond’. The first thing we learn is also the first thing that puts us a bit on the defensive: there are many definitions of hybrid. The generally accepted definition is “half ET/hal human”. In other words, shared DNA.

Most of this, including the interviews with those who identify as hybrids, is presented as accepted as fact. Of course, you will need to make up your own mind. Personally, I fall on the skeptical side, and honestly watched this as I’ve watched previous shows on Bigfoot or Sasquatch. I certainly believe that such things are possible … it’s just that I fall into the group described here as not accepting our “intergalactic heritage”.

What seems clear is that we believe these folks believe. They don’t come across as crazy, and even when interviewing one of the ‘hybrids’, the story makes sense from the viewpoint of ‘possibility’, just not of ‘probability’. One of the experts informs us that we don’t yet comprehend “consciousness”, which leads to our inability to accept such things. The promise of psychic or other special powers is mentioned a few times, yet no hard evidence is presented.

The Knights Templar were formed in the year 1118, and a modern-day Grand Master is interviewed, recounting the legends passed along over the last (nearly) one thousand years. Most would likely believe that astral visitations may have occurred, and possibly even human abductions by aliens … it’s just that the only evidence provided is hearsay. Are the aliens “out there” or “around here”? Nothing is proven, but again, we believe that they believe. Serena DC certainly structures the documentary as presenting facts, and for those who wish to believe, this might just be the key.

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Posted by David Ferguson

JUST SING (2026, doc)

April 23, 2026

Greetings again from the darkness. The popularity and staying power of Karaoke shows just how much we enjoy singing. Even for those with crippling stage fright, singing in the shower can provide a bit of joy. But what about those with real talent? There is only so much room for the Adeles and Ed Sheerans of the world. Co-directors Angelique Molina and Abraham Troen take us inside the world of collegiate a cappella (singing without instrumentation). Now, you are likely to immediately think of either church choir, barbershop quartets, or Pentatonix … all fine singing choices, yet all a bit different than what the film documents.

The film follows the USC (University of Southern California) VoCals as they pursue a record sixth team win at the International Championship of Collegiate A Cappella. The ICCA has 12,000 competitors, but only one winner which is determined by judges in New York City. Of course, to reach the finals, a team must earn the right through hard work, creativity, talent, and by winning regional events.

Listening to the participants, a common theme emerges. They each felt like outsiders until they became part of the a cappella team. In their words, they found “my people”. Blending talent into beautiful art requires a lot of work … plus fundraising. We learn that the PITCH PERFECT movies and the “Glee” TV series helped make singing cool. Perhaps most importantly, the a cappella group provided a direction or a path for these outsiders. We do learn the importance of arrangements and soloists for competition, but all of this seems more about community and belonging and sharing the journey … although the reaction to NYC finals is quite telling.

Abramorama will release the film in New York City and Los Angeles on April 24th, followed by a North American theatrical rollout.

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Posted by David Ferguson

THE TALLEST DWARF (2026, doc)

April 5, 2026

Greetings again from the darkness. Psychologists long ago concluded that ‘belonging’ is a fundamental human social need. Finding our ‘peeps’ … a group of similar folks to share life with … plays a significant role in our identity – who we are. Documentarian Julie Wyman turns her focus … and her camera … onto herself as she searches for her own place.

It’s a bit disturbing, and kind of heartbreaking, to watch as Julie interviews her parents. Claiming they thought she was “normal” as a kid, properly ruffles Julie’s feathers as she reminds them of the many times she brought up the issue when she was younger. Julie’s sister acknowledges school fights over Julie’s proportions, and then we see an analysis of da Vinci’s Vitruvian Man … right down to the optimal limb to torso to height percentages.

Dwarf culture becomes the story here as Julie meets with Little People of America. The most famous and successful dwarf actor, Billy Barty, was a co-founder of the organization in 1957. Mr. Barty passed away in 2000 at the age of 76, but the organization continues with participation from many. Julie seems to be testing the waters to determine if she will be accepted, as her proportions are considered ‘partial dwarfism’. What she finds is a group who collaborates with and protects each other.

The battles with medical research and big pharma reminded me of some of the same issues faced by the hearing-impaired community. Should attempts be made to ‘normalize’ or should the group be accepted in their natural state. Although I am not part of either community, it has always seemed to me that the individuals should decide on their own. There are plenty of hearing-impaired who choose hearing aids or Cochlear implants, and if growth hormones or other options are available for dwarfism, then these folks should be allowed to choose … free from backlash and judgment.

Julie Wyman’s film does a nice job addressing this, as well as her own situation. There are a few familiar faces you might recognize in Little People of America, including actors Mark Povinelli (NIGHTMARE ALLEY, 2021), Sofiya Cheyenne (“Loudermilk”), Matthew Jeffers (“New Amsterdam”), and Katrina Kemp (“Spider-Man”). There is also a quick shot of Danny Woodburn (Mickey from “Seinfeld”) at an event. The line that will surely stick with most viewers is the admission that dwarfism makes one “invisible, but always on display”.

Premiering on PBS Independent Lens on April 6, 2026

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Posted by David Ferguson

JIMMY & THE DEMONS (2026, doc)

April 2, 2026

Greetings again from the darkness. The first documentary from Cindy Meehl was her award-winning profile of ‘horse whisperer’ Buck Brannaman in BUCK (2011). It was a fantastic profile of an interesting man, and Ms. Meehl’s latest provides an even more personal look at artist James Grashow and his six-decade career, culminating in his masterpiece, “The Cathedral”.

The line dividing passion from obsession can be mighty thin, and James Grashow teeters between the two. Lest you think that’s a negative, it should be noted that Mr. Grashow is a spirited man who admittedly ‘loves life’ and fears death. When not exhausted or in pain, he’s a charming man dedicated to his craft … especially this latest project for a serious collector. Grashow, who is 79 when the project begins, doesn’t state this is his final project, but he cracks, “I pray I get to finish it”. The film follows him over the next three years as he works on the intricate details of the demons, the cathedral itself, and of the face of Christ.

Grashow claims that ideas have always hit him like ‘thunderbolts’ and his marriage of more than 50 years to Guzzy is a testament to both of them. She is certainly protective of her artist husband who always puts the work over his health. Documentarian Meehl includes some archival photographs and footage of Grashow’s work dating back to 1966. Much of this cardboard sculpting has a whimsy feel, yet the artistry is evident to all. We even see his sketch work on album covers for Deep Purple and Jethro Tull, as well as many sketches for periodicals over the years. The man has been prolific in producing art.

Grashow’s daughter recounts how he slyly introduced her to the magic in life, and in fact, the artist claims the ‘engine for creativity is play’ … and even in his 80’s, he’s able to play while working. As an example, this is the first film I’ve ever watched where ‘demon nipples’ are discussed (and carved). He admits that he could never spell or do math, but he always had a talent for art. This final masterpiece is truly spectacular, and he says it represents life and death, mortality, and eternity. James Grashow passed away in late 2025 … what he referred to as life’s “extra innings”. Depending on one’s perspective of the life of an artist, viewers are likely to pull varying thoughts from the film. I believe James Grashow would be fine with that.

Opens at the Quad Cinema in NYC on April 3, 2026 before expanding to additional markets nationwide.

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Posted by David Ferguson

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