Docs

“Voir” docuseries from David Fincher, Netflix set to premiere at AFI Fest

The 2021 AFI Fest has unveiled its full lineup of films for this year, featuring David Fincher’s upcoming docuseries Voir. The full lineup features 115 titles representing 50 countries, and includes ...
October 14, 2021

The 2021 AFI Fest has unveiled its full lineup of films for this year, featuring David Fincher’s upcoming docuseries Voir.

The full lineup features 115 titles representing 50 countries, and includes six world premieres. More than half of the film’s lineup at 51% are directed by women, with 40% directed by BIPOC filmmakers and 13% directed by LGBTQ+ filmmakers.

All festival-goers attending in-person events and screenings in Los Angeles must be fully vaccinated, the festival has said. The festival will run from Nov. 10 to 14. Virtual screenings will be geo-blocked to the U.S.

The AFI Conservatory Showcase, which is a collection of short fiction films from AFI Conservatory graduates, will conclude with the world premiere of Voir, an upcoming Netflix docuseries executive produced by Fincher. The series, announced yesterday via social media by Netflix, is a collection of visual essays about cinema, with episodes helmed by David Prior, Taylor Ramos and Tony Zhou.

The following documentary features are also included in next year’s AFI Fest lineup:

Bernstein’s Wall, about the life of composer Leonard Bernstein, directed by Douglas Tirola, U.S.;

Citizen Ashe, about the legacy of tennis champion and civil rights activist Arthur Ashe, directed by Rex Miller and Sam Pollard, U.S., UK;

Cow, an up-close portrait of a dairy cow, directed by Andrea Arnold, UK;

The First Wave, about the turmoil on hospital frontlines during the COVID-19 pandemic in New York City in early 2020, directed by Matthew Heineman, U.S.;

Juice WRLD, exploring the life and death of hip hop star Juice WRLD, directed by Tommy Oliver, U.S.;

Julia, highlighting never-before-seen clips from Julia Child’s public TV show to explore her career, directed by Julie Cohen¬†and Betsy West, U.S.;

A Night of Knowing Nothing, a semi-fictionalized experimental documentary recalling political upheaval in India through the diary of a student to her absent lover, directed by Payal Kapadia, France, India;

Procession, which chronicles six men using drama therapy to process childhood sexual abuse, directed by Robert Greene, U.S.;

The Real Charlie Chaplin, a portrait of the silent film comedian with never-before-heard recordings, directed by Peter Middleton and James Spinney, U.S.;

Simple as Water, documenting refugee families affected by the Syrian civil war as they rebuild their lives in new surroundings, directed by Megan Mylan, U.S.;

To What Remains, following Project Recover which returns M.I.A. World War II veterans from South Pacific battlefields, directed by Chris Woods, U.S. World Premiere.;

Who We Are: A Chronicle of Racism in America, about ACLU lawyer Jeffrey Robinson’s deep dive into America’s 400-year history of white supremacy and anti-Black racism, directed by Emily Kunstler and Sarah Kunstler, U.S.

Meanwhile, AFI Fest’s short films category, which includes conversations moderated by NBC News journalists, includes:

Bree Wayy: Promise Witness Remembrance, directed by Dawn Porter, U.S.;

Camp Confidential: America’s Secret Nazis, directed by Daniel Sivan and Mor Loushy, U.S.;

Coded: The Hidden Love of J.C. Leyendecker, directed by Ryan White, U.S.;

The Facility, directed by Seth Freed Wessler, U.S.;

Golden Age Karate, directed by Sindha Agha, U.S.;

The Interview, directed by Jonathan Miller and Zachary Russo, U.S.;

Lead Me Home, directed by Pedro Kos and Jon Shenk, U.S.;

Lynching Postcards: ‘Token of a Great Day,’ directed by Christine Turner, U.S.;

Meltdown in Dixie, directed by Emily Harrold, U.S.;

Mission: Hebron, directed by Rona Segal, Israel;

Party Line, directed by Lydia Cornett, U.S.;

Red Taxi, directed by Anonymous, Hong Kong, U.S.;

Takeover, directed by Emma Francis-Snyder, U.S.;

They Won’t Call It Murder, directed by Melissa Gira Grant and Ingrid Raphael, U.S.;

The Train Station, directed by Lyana Patrick, Canada.

About The Author
Barry Walsh is editor and content director for realscreen, and has served as editor of the publication since 2009. With a career in entertainment media that spans two decades, prior to realscreen, he held the associate editor post for now defunct sister publication Boards, which focused on the advertising and commercial production industries. Before Boards, he served as editor of Canadian Music Network, a weekly music industry trade, and as music editor for HMV.com. As content director, he also oversees the development of content for the brand's market-leading events, the Realscreen Summit and Realscreen West, as well as new content initiatives.

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