Assata

Laura Poitras films Edward Snowden's first meetings with journalists in a Hong Kong hotel room as he hands over evidence of mass NSA surveillance.

Why it’s here: Poitras was already filming when Snowden reached out, so this isn't reconstructed after the fact — it's the actual hotel room, the actual first read of the documents, tension that isn't staged because nobody knew yet how it would end.

A mechanic in Iran becomes convinced that a man he's crossed paths with is the blindfolded interrogator who once tortured him in prison — and enlists other former detainees to help him confirm it, with escalating and morally uncertain consequences.

Why it’s here: Punk in the literal sense that its own existence defies a state filmmaking ban — Panahi shot this clandestinely after his own imprisonment, and it's his most direct attack yet on Iran's security apparatus. Pedagogical in refusing easy catharsis: revenge here is morally murky, and the film makes you sit with that uncertainty rather than cheering a clean reckoning.