Full Breakdown
Mark Cousins' “The Story of Documentary Film” Premieres at Sundance, Berlin and Cannes
5/24/2026, 1:29:48 PM
Core Event: Multi-Festival Debut of a 16-Chapter Series
Award-winning director Mark Cousins launched his 16-chapter documentary series The Story of Documentary Film across three major festivals in 2026. Chapter 1 premiered at Sundance, chapters 2-4 screened at the Berlin International Film Festival (Berlinale), and two chapters focusing on the 1970s were shown at Cannes. The Cannes presentation marked the fifth time a Cousins work was selected for the festival’s Official Selection.
Background & Context: A Century of Documentary History
The series was conceived to mark the centenary of John Grierson’s coining of the term “documentary.” Cousins frames the project as a chronological exploration of nonfiction cinema, tracing its evolution from the European-dominated 1930s-40s to the globally diversified 1970s. Earlier Cousins films have repeatedly been featured at Cannes, establishing his reputation for documentary scholarship.
Key Figures & Groups
- Mark Cousins – Northern Irish-Scottish director and series creator.
- Thierry Frémaux – Festival chief of Cannes, who introduced the 1970s chapters.
- Lisa Schwartz – Executive at Kino Lorber, responsible for North American distribution.
- John Archer – Producer of the series.
- Filmmakers highlighted in the 1970s chapters include Noriaki Tsuchimoto, Sukhdev Singh Sandhu, Sarah Maldoror, Kazuo Hara, Barbara Kopple, Agnès Varda, and Orson Welles.
Data & Statistics
- Total chapters: 16.
- Festival premieres: Sundance (chapter 1), Berlin (chapters 2-4), Cannes (two 1970s chapters).
- Highlighted works: Tsuchimoto’s Minamata documentary, Sandhu’s *Nine Months to Freedom* (1971 Bangladesh war), Maldoror’s *Fogo Fire Island*, Hara’s *Extreme Private Eros* (1974), Kopple’s *Harlan County, U.S.A.* (1976), Varda’s *Daguerreotypes* (1975), Welles’s *F for Fake* (1973).
- Distribution: Kino Lorber acquired North American rights, planning a “all-platform” release later in 2026.
Why It Matters: Documentary as a “Solidarity Machine”
Cousins argues that documentary cinema functions as a tool for civic engagement and collective resistance. He links the genre’s historical role in informing voters to contemporary concerns about misinformation, describing it as a “solidarity machine” capable of countering fascist narratives. The series’ emphasis on diverse voices from the 1970s underscores the medium’s expanding global perspective and its intersection with environmentalism and second-wave feminism.
Official Statements & Responses
Festival chief Thierry Frémaux described the Cannes screening as “extraordinary,” noting that the series reassures cinephiles of cinema’s enduring relevance. Kino Lorber’s Lisa Schwartz emphasized the urgency of celebrating documentary work amid “fake news and manipulated imagery.” Cousins reiterated that documentary’s capacity to “help fight fascism” remains central to his motivation for the series.
Verbatim Quotes
- “It’s always good to aim high,” Cousins told Deadline of the ambitious project just before Sundance. “I mean, we can nibble at life and take it gingerly or we can gorge.” — Mark Cousins, Director
- “In the ‘30s and ‘40s, there were only certain types of human beings who were making documentaries, mostly European men and things like that,” — Mark Cousins, Director
- “When I was watching [the series] a few nights ago, I was thinking to myself, what if documentary is the heart of cinema and other types of cinema surround it?” — Mark Cousins, Director
- “Documentary is a kind of solidarity machine,” — Mark Cousins, Director
- “You are going to see a film that is really, really extraordinary,” — Thierry Frémaux, Cannes Festival Chief
What’s Next: Distribution and Further Screenings
Kino Lorber will release the full 16-chapter series on streaming and on-demand platforms in North America later in 2026. Additional festival screenings are anticipated as the remaining chapters become available, extending the series’ reach to global audiences and reinforcing its stated aim of highlighting documentary’s role in contemporary cultural discourse.
