Heterodox Award

With the Heterodox Award we boldly go to the increasingly blurry line between fiction and nonfiction and celebrate those narrative films that imaginatively incorporate nonfiction strategies, content and/or modes of production. These films raise provocative questions regarding the assumptions we make about documentary films and illuminate the possible on both sides of the fiction/nonfiction divide. Nine finalists are chosen by votes of our Nominations Committee and the five nominees are selected by editors and writers at Filmmaker Magazine. Previous winners in this category include Matt Porterfield’s Putty Hill (2011), Mike Mills’ Beginners (2012), Jem Cohen’s Museum Hours (2013), and Carlos Reygado’s Post Tenebras Lux (2014).


Nominated for Heterodox Award

Sin-Dee is on a tear. Fresh out of prison, the trans working girl just learned that her man and pimp, Chester, has been hanging out with another woman, a biological female no less. Whichever one she finds first had better...

The Tribe

Nominated for Heterodox Award

There are “silent” movies, and then there’s Ukrainian director Myroslav Slaboshpytskiy’s spellbinding, one-of-a-kind drama in which not a single syllable is spoken or a single line of dialogue is subtitled. From the moment that the film’s hero—a troubled teenager named...


Nominated for Heterodox Award

After being sentenced to six years of house arrest and a twenty-year ban on making films in 2010, the great Iranian director Jafar Panahi got around these strictures by shooting his subsequent features This Is Not a Film entirely within...

God Bless the Child

Nominated for Heterodox Award

Harper, Elias, Arri, Ezra, and Jonah are five siblings going about their day in sunny California. With no adults present, their energy and curiosity take over as they begin to test their boundaries and each other. Harper, the oldest, fears...

Arabian Nights: Volume 1 (The Restless One)

Nominated for Heterodox Award

An up-to-the minute rethinking of what it means to make a political film today, Miguel Gomes’s shape-shifting paean to the art of storytelling strives for what its opening titles call “a fictional form from facts.” Working for a full year...

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