The Art of Gathering: How We Meet and Why It Matters

In the early 1970s, a ramshackle summer camp for teenagers with disabilities near Woodstock, Camp Jened, ran on hippie rules: no adults in charge of the kids' lives. The campers, among them co-director James LeBrecht and the future activist Judy Heumann, went on to organize the sit-ins and protests that helped win the Americans with Disabilities Act. It was produced for Netflix and was nominated for the Oscar for Best Documentary Feature.

Why it’s here: The film shows that a movement can begin as a summer. What's punk is that the people it follows organize without asking permission, and refuse to be treated as objects of pity. What's pedagogical is the through-line from a place where kids ran their own lives to a federal law that changed what was possible. It's a rare entry on disability and civil rights, and a natural fit for DoCR's self-organization principle.

Laurent Amédéo leads 1,100 workers at the Perrin plant — a facility that is profitable, whose multinational parent company has decided to close anyway. Stéphane Brizé shoots En guerre with the grain and rhythm of a documentary: non-professional actors in most roles, a handheld camera that can't find a comfortable distance, meetings that go nowhere for a very long time. Vincent Lindon is the union spokesperson who has to translate collective fury into procedure and back again, day after day. The film covers one stretch of a fight that most films would compress into a montage — the press conferences, the back-channel negotiations, the vote counts, the waiting.

Why it’s here: Brizé makes you sit in the room where a decision is being made about other people's lives by people who will never meet them. What's punk about En guerre is the refusal to let that feel abstract — the camera stays at plant-gate level, in the meeting room, on Laurent's face when the call comes in. What's pedagogical is the film's insistence on duration: you feel what it costs to keep a collective together when the institution on the other side is patient and the workers are not. For anyone who has been told that workers in France are just wired differently, that solidarity at this scale isn't something available to us — this film shows the material conditions that make it possible. And it shows what it costs even there.