Nonfics

100 Must-See Documentaries Streaming on Amazon Prime This February

This month's new documentaries available include 'Generation Wealth' and the Oscar-nominated classic 'Streetwise.'

The Oscars are coming up, and unfortunately, Amazon Studios doesn’t have any documentaries in contention this year. But Amazon did recently add two of last year’s best (and most underrated) films to Prime Video: John McEnroe: In the Realm of Perfection and Generation Wealth. Also, another release we like from last year: Makala. Plus, an actual classic Oscar nominee has been added: Streetwise; along with a modern classic doc, just in time for Black History Month, Chisholm ’72.

These five titles have been added to our Amazon 100 where five documentaries have disappeared from streaming via Prime Video. They are: Cameraperson; Private Practices: The Story of a Sex Surrogate; The Imposter; The Pruitt-Igoe Myth; and Frederick Wiseman‘s Ex-Libris: The New York Public Library.

Also, this month, as we await the Oscars, we’ve noted all the Oscar nominees and winners from the last nearly 80 years that are actually streaming on Prime Video. There are a lot of them, especially in the shorts section. Can you catch up with all of them before the big night?

Here is how the Amazon 100 titles are numerically arranged:

They are mostly ranked in order of my favor with some objective authority, but there are some clumps throughout the list that obviously fit together. Some are by director, some are by genre or subject matter, and some are by series. In fact, I see this whole list as being best watched in order of the rankings. There are a few double and triple features in the bunch and some groupings where I truly think the higher ranking title is best watched before a certain title or titles below it. Also, the first bunch of entries consists of those that are new to the list that month.

Streetwise (Martin Bell, 1984) *OSCAR NOMINEE
“The characters in Streetwise are almost too amazing to be believed. I don’t think you’d ever meet anyone like them in a doc made today, because few filmmakers are able to so deeply immerse themselves in a world as director Martin Bell, photographer Mary Ellen Mark and writer Cheryl McCall had, beginning earlier for a Life magazine article and gaining the trust of the entire universe of these homeless youths, and still present such an objective window into the soul of that world.” – Christopher Campbell
Chisholm ’72: Unbought & Unbossed (Shola Lynch, 2004)
John McEnroe: In the Realm of Perfection (Julien Faraut, 2018)
“No other tennis pro could be at the center of a doc like In the Realm of Perfection. Not just because McEnroe is the one whom de Kermadec ended up concentrating on. But also because he was a wild animal. There is, of course, the acknowledgment in the film that the footage looks at McEnroe as another documentary might study penguins in Antarctica. It is, in part, March of the McEnroe.” – Christopher Campbell
Generation Wealth (Lauren Greenfield, 2018)
“What Greenfield has accomplished with Generation Wealth is a stinging indictment of the redefined American Dream. Hard work and dedication have been replaced by shortcuts and entitlement. This might not be a film that changes the world, but it’s certainly enough to prompt some much-needed self-examination.” – J.R. Kinnard
Makala (Emmanuel Gras, 2017)
“With its simple plot, revealing close-ups, and rousing cello solos, Makala has all the makings of an intimate drama. It is beautifully filmed, with sweeping views of the Congolese landscape as well as a number of breathtaking nighttime shots.” – Sarah Foulkes
The Act of Killing (Joshua Oppenheimer, Christine Cynn, and Anonymous, 2012) *OSCAR NOMINEE
“The genius of the film lies not in its buzz-generating conceit, but in the opportunity that its scenario provides for exploring ‘the act’’s fraught relationship to its mediated depictions. The Act of Killing is neither singularly about mass murder nor about movie violence, but about the interminable gap between the horror of the act itself and our strained ability to truly comprehend that horror through its representation.” – Landon Palmer
Why We Fight (Eugene Jarecki, 2005)
The Square (Jehane Noujaim, 2013) *OSCAR NOMINEE
“Inevitably the situation in Egypt will continue to change, and the factual usefulness of the film will diminish. It’s the narrative itself, the way that the events of this summer change the story of the activists that are profiled, that will keep us coming back to The Square for years to come.” – Daniel Walber
Spellbound (Jeffrey Blitz, 2002) *OSCAR NOMINEE
Louisiana Story (Robert J. Flaherty, 1948)
All in This Tea (Les Blank and Gina Leibrecht, 2007)
The Chair (Robert Drew, 1963)
Love Meetings (Pier Paolo Pasolini, 1964)
Bowling for Columbine (Michael Moore, 2004) *OSCAR WINNER
Fahrenheit 11/9 (Michael Moore, 2018)
“Fahrenheit 11/9 is mostly a sad and scary and angry and alarming movie. There is little room for comedy next to a montage of people who’ve died from Legionnaires’ disease in Flint or following a sequence of smartphone-shot footage of the Parkland, Florida, school shooting, including audio of shots fired and view of one of the dead.” – Christopher Campbell
Super Size Me (Morgan Spurlock, 2005) *OSCAR NOMINEE
Tchoupitoulas (Bill Ross IV and Turner Ross, 2012)
Only the Young (Elizabeth Mims and Jason Tippet, 2012)
Approaching the Elephant (Amanda Wilder, 2014)
I Am Not Your Negro (Raoul Peck, 2016) *OSCAR NOMINEE
“I Am Not Your Negro gives Baldwin’s trenchant, brilliant prose — ever timely both because he was a genius and because America is too slow to change on these matters — its due, keeping his spirit in times when it’s needed badly.” – Dan Schindel
Hoop Dreams (Steve James, 1994) *OSCAR NOMINEE
The Interrupters (Steve James, 2011)
“The documentary brings James back to Hoop Dreams territory, setting-wise, by following the inspiring Chicago-based organization CeaseFire, tracking the work and lives of a few members of its ‘violence interrupters’ team. These individuals, many of whom come from a violent past themselves, now mediate gang disputes and try to resolve other potential causes for alarm that may lead to more murders, adding to an already epidemic issue in the city. Through a year in the lives, we witness the subjects’ personal struggles with inner-city violence as well.” — Christopher Campbell
Copwatch (Camilla Hall, 2017)
“iPhone shots of violent police arrests, bracketed by heavy borders and unseen screams, the effect similar to the loud silence that Michael Moore used to replicate the falling World Trade Center towers in Fahrenheit 9/11. The images are pieces of our own collective, tangential consciences, things we’ve seen before in quick bursts on the news, but Hall’s presentation forces us to acquiesce to its sheer emotional power.” – Andrew Karpan
Crips and Bloods: Made in America (Stacy Peralta, 2008)
“Los Angeles was the birthplace of not one but two of the largest, most violent street gangs in America. And despite their similar origins and the common socioeconomic influences that lead young men to them, the Crips and Bloods have been at each other’s throats for decades…[this film goes] through the history of the two gangs — the factors that led to their formations in the late ’60s and early ’70s, what leads their recruitment, and what fuels their business and rivalry.” – Dan Schindel
Tell Them We Are Rising: The Story of Black Colleges and Universities (Stanley Nelson, 2017)
“For this film, the overarching theme of the true importance of education to all, past, present, and future, with specific focus on what it has meant to African Americans in the past and present and going forward makes it a more unified experience of the fragmented history. Nelson has made docs that can be casually viewed, but this isn’t one of them.” – Christopher Campbell
Trouble the Water (Tia Lessin and Carl Deal, 2008) *OSCAR NOMINEE
Dark Days (Marc Singer, 2000)
“A film about the city beneath the city, this documentary reveals the homes of the homeless in the abandoned tunnels of Manhattan. And no New Yorker who saw it could think the same about the island (or the rest of the boroughs) again.” — Christopher Campbell
Foreign Parts (Verena Paravel and J.P. Sniadecki, 2010)
Picture of Light (Peter Mettler, 1994)
Samsara (Ron Fricke, 2011)
Finders Keepers (Clay Tweel and Bryan Carberry, 2015)
“With this, Tweel proves he can also do right with more intricate and difficult material, further fulfilling his place as one of the most interesting and reliable (and definitely underrated) documentarians in the scene today.” – Christopher Campbell
Nuts! (Penny Lane, 2016)
Waco: The Rules of Engagement (William Gazecki, 1997) *OSCAR NOMINEE
Twist of Faith (Kirby Dick, 2004) *OSCAR NOMINEE
Paradise Lost: The Child Murders at Robin Hood Hills (Joe Berlinger and Bruce Sinofsky, 1996)
Paradise Lost 2: Revelations (Joe Berlinger and Bruce Sinofsky, 2000)
Paradise Lost 3: Purgatory (Joe Berlinger and Bruce Sinofsky, 2011) *OSCAR NOMINEE
The Central Park Five (Ken Burns, Sarah Burns and David McMahon, 2012)
Chicago 10 (Brett Morgen, 2010)
Captivated: Trials of Pamela Smart (Jeremiah Zagar, 2014)
“In a way, it’s not really a documentary about Pamela Smart, only using her story as a perfect example of how the over-mediation and sensationalist exploitation of crimes like her husband’s killing wind up affecting the outcome. Director Jeremiah Zagar (In a Dream) even got a journalism professor to explain the relevant Heisenberg’s uncertainty principle, but it’s not all as simple as the observed changing for the sake of the cameras. This doc is also and perhaps more so concerned with how observation changes the observer.” — Christopher Campbell
Aileen Wuornos: The Selling of a Serial Killer (Nick Broomfield, 1992)
Driving Me Crazy (Nick Broomfield, 1988)
Kurt & Courtney (Nick Broomfield, 1998)
Biggie & Tupac (Nick Broomfield, 2002)
Soldier Girls (Nick Broomfield and Joan Churchill, 1981)
Heidi Fleiss: Hollywood Madam (Nick Broomfield, 1995)
Tracking Down Margaret (Nick Broomfield, 1996)
Tales of the Grim Sleeper (Nick Broomfield, Barney Broomfield, and Marc Hoeferlin, 2016)
“With its Los Angeles setting and plot filled with sex and murder and police corruption, on the surface Tales might be the closest thing there is to nonfiction noir, with Broomfield an ever-narrating hardboiled detective leading the way. But it’s hardly a pulp story, its complications deeper than warrants a clever line of ‘forget it, Nick, it’s South Central.'” – Christopher Campbell
Dolores (Peter Bratt, 2017)
“The primary purpose of this documentary is to give Huerta her due as an integral part of any complete curriculum on women’s studies, as well as Latino studies, general ethnic studies, and even the whole of American studies.” – Christopher Campbell
Changing Our Minds: The Story of Dr. Evelyn Hooker (Richard Schmiechen, 1992) *OSCAR NOMINEE
McQueen (Ian Bonhôte and Peter Ettedgui, 2018)
“Fashion designer Alexander McQueen gets one of the most widely appealing biographical documentaries in some time with this perfectly constructed film. Don’t care about fashion? Don’t know who he was? Not a problem, since McQueen’s rags-to-riches story is universally compelling and thoroughly riveting, even if ultimately it has an unhappy ending. He was a rock star in the fashion world, and McQueen is appropriately sort of a rock doc. Accessibly broken up into a chaptered narrative based around audio recordings of the late subject, the film offers a portrait of an intriguingly humble, yet shockingly brilliant artist. Even if you don’t like his work, you’ll be inspired and saddened by his story.” – Christopher Campbell
Particle Fever (Mark Levinson, 2013)
“Particle Fever is not necessarily a film about what the Large Hadron Collider does or might prove or disprove. It’s a film about the people involved in its creation and/or with the scientific theories it will impact, such as the young post-doc Monica Dunford and the patient physicist Savas Dimopoulos, who’s been waiting three decades to test out his theories, and even the great hero of particle physics himself, Peter Higgs. And as this, it’s among the very best portrayals of passion and excitement ever put on screen.” — Christopher Campbell
Prelude to War (Frank Capra and Anatole Litvak, 1942) *OSCAR WINNER
Divide and Conquer (Frank Capra and Anatole Litvak, 1943)
The Battle of Britain (Frank Capra and Anatole Litvak, 1943)
The Battle of Russia (Frank Capra and Anatole Litvak, 1943) *OSCAR NOMINEE
The Battle of China (Frank Capra and Anatole Litvak, 1944)
Desert Victory (Ray Boulting and David MacDonald, 1943) *OSCAR WINNER
The Fighting Lady (Edward Steichen, 1944) *OSCAR WINNER
Resisting Enemy Interrogation (Robert B. Sinclair, 1944) *OSCAR NOMINEE
War Comes to America (Frank Capra and Anatole Litvak, 1945)
The True Glory (Garson Kanin and Carol Reed, 1945) *OSCAR WINNER
Let There Be Light (John Huston, 1946)
Genocide (Arnold Schwartzman, 1982) *OSCAR WINNER
The Long Way Home (Mark Jonathan Harris, 1997) *OSCAR WINNER
Last Days in Vietnam (Rory Kennedy, 2014) *OSCAR NOMINEE
Cartel Land (Matthew Heineman, 2015) *OSCAR NOMINEE
City of Ghosts (Matthew Heineman, 2017)
“Its most interesting moments come in the movie’s coverage of the message war between ISIS and RBSS. Shots of ISIS propaganda are juxtaposed with the carefully cut RBSS footage that is sent to Western media outlets. Home-grown media machines, both: one apes Hollywood video game drama, the other apes our own melodramatic 24-hour news coverage. “We don’t just repeat the news,” an RBSS member tells Heineman. In a war of words, you have to bring your own. There’s always evil to be found; evil, everywhere.” — Andrew Karpan
Standard Operating Procedure (Errol Morris, 2008)
The Invisible War (Kirby Dick, 2012) *OSCAR NOMINEE
Human Flow (Ai Weiwei, 2017)
“Ai’s feature debut manages to achieve the visual and political massiveness of Picasso’s Guernica, a mural of frenzied, scared images of a century slowly disconnecting. Shot with iPhones and from drone cameras, Human Flow eschews the small case study-intimacy common among journalist-driven doc fare. Bopping around the fragmented borders of some 23 countries, including the U.S., Human Flow is a work of extraordinary visual art as a well as an agitprop set-piece.” — Andrew Karpan
Street Fight (Marshall Curry, 2005) *OSCAR NOMINEE
If a Tree Falls: A Story of the Earth Liberation Front (Marshall Curry and Sam Cullman, 2011) *OSCAR NOMINEE
The Weather Underground (Sam Green and Bill Siegel, 2002) *OSCAR NOMINEE
Before the Mountain Was Moved (Robert K. Sharpe, 1970) *OSCAR NOMINEE
In the Shadow of the Moon (David Sington, 2007)
Fake It So Real (Robert Greene, 2011)
The Endless Summer (Bruce Brown, 1966)
On Any Sunday (Bruce Brown, 1971) *OSCAR NOMINEE
On Any Sunday II (Ed Forsyth and Don Shoemaker, 1981)
Seven Second Love Affair (Robert Abel, 1965)
Gleason (Clay Tweel, 2016)
The Road Movie (Dmitrii Kalshnikov, 2016)
“There is a disturbing pleasure to be enjoyed in dashboard-cam footage of traffic accidents, though The Road Movie isn’t just a compilation of Russia’s craziest car videos…There are surprises aplenty in this Warholian presentation of real-life death and destruction, and it will leave you paranoid about getting behind the wheel of your own vehicle.” – Christopher Campbell
Pussy Riot: A Punk Prayer (Mike Lerner and Maxim Pozdorovkin, 2013)
“While A Punk Prayer is certainly a kinetic and informative document on the band’s history, tactics and controversies, the film illustrates more broadly the conflict between a nation’s gestures toward democracy and its privileging of an orthodox culture.” – Landon Palmer
Stop Making Sense (Jonathan Demme, 1984)
“One of the most acclaimed and influential music documentaries of all-time… Stop Making Sense is actually a musical rather than a traditional concert film. It fits multiple criteria including a variety of camera shots, a narrative journey with the main character has experienced some form of growth, and there was extremely intentional lighting design to the feature.” — Max Covill
The Last Waltz (Martin Scorsese, 1978)
“Documents the final 1976 concert of The Band and features, on stage, such guest stars as Bob Dylan, Eric Clapton, Neil Young and Ringo Starr. Directed by Martin Scorsese, the film represents a kind of closing night for the era of rock and roll that these artists came out of. It’s appropriate that the filmmaker went from working on Woodstock to orchestrating this, because it’s almost its antithesis. The mid-70s was a time of overproduced music, so it makes sense for a concert film to arise out of the period with as much luster as this one does. It’s not a surprise to learn most of the instruments were overdubbed with studio-recorded performances for utmost perfection, or that an equivalent of digitally removing flaws (rotoscoping) was also involved.” – Christopher Campbell
Don’t Stop Believin’: Everyman’s Journey (Ramona S. Diaz, 2012)
“It’s plenty entertaining, particularly if you like Journey and uplifting rags-to-riches tales. And as far as the abundance of panegyric music films out there go, this one keeps a positive light shone on its subject but never puts him on an undeservedly high pedestal. Pineda is consistently treated and presented as a human figure, an everyman as the sub-title suggests, rather than a rock god or legend. In a way, it’s completely appropriate that the film about him is just good enough, nothing too extraordinary or lasting in our minds.” — Christopher Campbell
Her Master’s Voice (Nina Conti, 2012)
“One of the fun, fresh things the filmmaker does is interview herself and others via this monkey puppet, which functions as a kind of surrogate […] it’s interesting to see Conti using the two levels here, and yet there is definitely no hiding. She is extremely open and candid in her film, and I think she also gets a good deal of honesty out of others by letting them talk to Monkey and the camera. For such a short, seemingly simple doc about ventriloquism, Her Master’s Voice is remarkably complex and important to the consideration of both art forms.” – Christopher Campbell
Marlene (Maximillian Schell, 1984) *OSCAR NOMINEE
Hollywood on Trial (David Helpern Jr., 1976) *OSCAR NOMINEE
The Line King: The Al Hirschfeld Story (Susan Warms Dryfoos, 1996) *OSCAR NOMINEE
“Fittingly, Dryfoos is, herself, sketching a fitting caricature of Hirschfeld: her ear for melancholy picks up resentment, confusion, old ladies tsking.” – Andrew Karpan
Abacus: Small Enough to Jail (Steve James, 2016) *OSCAR NOMINEE
“Spotlighting a lesser-known tale of the financial crisis, this unapologetically Capra-esque film presents the story of Abacus Federal Savings Bank, the only institution to face criminal charges, rather than a beneficial bailout, for its involvement in the subprime mortgage debacle. Easily taken for granted because it’s not a broader or more hard-hitting work, the perfectly conventionally doc is in fact quite revealing of systemic racism and other grander issues in America and its judicial system. But it’s also primarily just a portrait of a single family coming together against an unfortunate situation and the goliath government prosecutors looking to make an example out of their business, a pillar of New York’s Chinatown community.” — Christopher Campbell
Stations of the Elevated (Manfred Kirchheimer, 1981)
4 Little Girls (Spike Lee, 1997) *OSCAR NOMINEE
The Wild and the Brave (Natalie R. Jones and Eugene Jones, 1974) *OSCAR NOMINEE
The Conquest of Everest (George Lowe, 1953) *OSCAR NOMINEE
Voyage to the Edge of the World (Philippe Cousteau, 1976)
Kon-Tiki (Thor Heyerdahl, 1950) *OSCAR WINNER
Life, Animated (Roger Ross Williams, 2016) *OSCAR NOMINEE
Dear Zachary: A Letter to a Son About His Father (Kurt Kuenne, 2008)
“If you don’t know much about this documentary, you’re better off going in cold, and that means not even Googling the title because I guarantee one of the top results is a spoiler. That’s if you want to have the optimal experience of the film’s arguably manipulative storytelling and therefore the optimal amount of tears from your eyes by the end.” — Christopher Campbell