documentaries

Welcome back to another Oscar season!

I’m Matt Brennan, editor in chief of The Envelope, and each Wednesday from now until Jan. 7, I’ll be sending you a (digital) editor’s letter with some highlights from our Phase I issues.

Our first issue of the 2025-2026 campaign features stories on documentaries, films about the Palestinian experience and “Marty Supreme’s” Odessa A’zion.

A Deeper Dive: Documentaries

(Illustration by Daniel Stolle / For The Times)

I won’t pretend to be Nostradamus when it comes to Hollywood’s top awards — my Gold Derby Emmys ballot didn’t even crack the top 1,000 — but most anyone who ran into me at this year’s Sundance Film Festival heard at least one bold prediction that turned out to be correct: 2025 has been a sterling year for documentaries.

With journalists under attack in the U.S., Ukraine, Gaza and beyond, the form’s close connection to reportage has never felt more urgent, at least not to me. In the contraband prison images of “The Alabama Solution,” the body camera footage of “The Perfect Neighbor,” the conflict coverage of “2000 Meters to Andriivka” and “Love + War,” the portraiture of “Cover-Up” and much more besides, the year’s finest documentaries — no, the year’s finest films — manage to unearth new ways of seeing our society’s most pressing issues, often with more precision and subtlety than scripted films much longer (and costlier) in the making.

To that end, this week Steve Dollar asks the filmmakers behind five of the year’s many worthy nonfiction films — “Apocalypse in the Tropics,” “Folktales,” “Predators,” “Seeds” and “The Tale of Silyan” — to share what images became the keystone of their latest projects.

Digital Cover: Odessa A’zion

(Christina House / Los Angeles Times)

I can confirm Tim Grierson’s reporting that Odessa A’zion is a hugger: I received several myself from the “Marty Supreme” and “I Love L.A.” performer when she stopped by The Times newsroom recently for an Envelope digital cover shoot, her own 16mm still camera in hand.

As Grierson notes of the actor, A’zion “doesn’t behave like a rising star” — and she’s not particularly comfortable with the label, either.

“A’zion has heard those predictions before, so she’s wary about being anointed the next big thing,” he writes. “After all, she remembers all the auditions that went nowhere. She remembers being behind on her rent. She remembers almost being evicted. She remembers getting fired from gigs. Simply being cast in a Josh Safdie film doesn’t make those old wounds disappear. ‘To all of a sudden be like, “OK, I’m done [worrying about my career]!” — I don’t see that feeling coming anytime soon.’”

A trio of Palestinian films in the international feature race

A scene from “All That’s Left of You.”

(Watermelon Pictures)

Palestinian stories are no stranger to awards season. But this year, as Gregory Ellwood writes, a trio of films from female directors — each submitted by a different country and each set in a different time period — make for a particularly remarkable confluence.

“In a way, the movie lived what most Palestinians live: war, exile, fleeing,” “All That’s Left of You” filmmaker Cherien Dabis told Ellwood of her film having to shift production after the outbreak of the Israel-Gaza war. “All of the uncertainty, the financial and logistical crisis of it all. I think that what really grounded me during that time was just knowing that the movie was more relevant than ever, and that it had to get done.”

Read more on “All That’s Left of You,” “Palestine 36” and “The Voice of Hind Rajab.”

Additional highlights from our Nov. 20 issue

Vicky Pattison is bouncing back after being booted off the BBC dance show, with the star already lining up a new on-screen project that will take her in a very different direction

Vicky Pattison is reportedly preparing for a brand-new TV role after her shock exit from Strictly Come Dancing. The former Geordie Shore favourite, who recently turned 38, was dropped from the BBC competition over the weekend despite impressing viewers with her routines alongside professional partner Kai Widdrington, 30.

The pair were sent home after the judges chose to save Balvinder Sopal, 49, and her partner Julian Caillon, 30. Now, Vicky is said to be heading straight back onto screens – this time alongside her husband Ercan Ramadan, whom she married in 2024 – in a new E4 series.

A TV insider told The Sun: “Vicky is already hugely popular with E4 audiences, thanks to her documentary about her dad’s alcoholism, her wedding specials and her show The Honesty Box, and this is the perfect post Strictly vehicle for her.”

According to the report, the show will explore a range of fertility topics, including IVF, egg freezing and the emotional realities behind the process. Vicky will also share her own journey while speaking to experts and women who have undergone similar experiences.

The star has been open about taking control of her fertility, choosing to freeze her eggs before tying the knot with Ercan last summer. She has frequently discussed the subject on social media and previously fronted the BBC documentary Egg Freezing And Me, which examined the rising demand for fertility treatments in the UK.

Growing up in Newcastle, Vicky felt the pressure many young women face surrounding marriage and motherhood. The 38-year-old has said that in her hometown, “it was ‘expected that you’d get married and have kids by 30, and if you didn’t you’d have failed.”

But despite once believing she had missed the mark, Vicky says her thirties turned out to be the most fulfilling years of her life so far. She told the Daily Mail: “I’d just come out of a relationship. I’d been conditioned to think everything was going to go downhill – looks, fertility, career. But my 30s have actually been the best years of my life. I met my husband, I bought a house, I adopted my dog, I found a career I’m proud of. I was a girl until I was 30 – now I’m a woman, and I like her. Society scares women into thinking life ends at 30. It’s rubbish.”

Vicky has also spoken openly about her diagnosis of Premenstrual Dysphoric Disorder (PMDD), after doctors initially dismissed her symptoms as nothing more than Premenstrual Syndrome (PMS).

Reflecting on her fertility treatment, she has been honest about the emotional and physical toll, saying: “It’s emotionally difficult, and you’re all over the shop, but I found it to be quite uncomfortable and painful as well. And I don’t think enough people talk about that… we’re not allowed to whinge about it and say it was a bit hard, and it was a bit uncomfortable.”

She added an important reminder that women can feel both grateful and overwhelmed at the same time: “But actually, you can be grateful, and you can be really excited for the end product, but you can also struggle to get there, and I found it painful.”

The Mirror has reached out to Vicky Pattison’s representatives for comment.

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