A documentary about soil just won at Cannes, and it’s landing on Prime Video this Friday.

“Groundswell,” executive produced and narrated by Woody Harrelson and Demi Moore, completes a trilogy that started with “Kiss the Ground” and “Common Ground.” Directed by Josh and Rebecca Harrell Tickell, the film spans five continents to track a global farming revolution that’s quietly addressing climate change, species extinction, and soil loss all at once.

The premise is straightforward. Regenerative agriculture builds living soil, stores carbon underground, and produces more nutrient-dense food per acre. The film shows farmers, scientists, and Indigenous leaders already proving it works at scale. Grasslands are recovering. Rivers are running cleaner. Yields are climbing.

The doc took home the Golden Globes Prize for Documentary at the 2026 Cannes Film Festival, earning recognition for a film that wraps a very real environmental crisis in accessible, solutions-focused storytelling. Prince William even makes an appearance, introducing regenerative rancher Gabe Brown in a symbolic passing of the torch.

While “Kiss the Ground” introduced soil health to a mainstream audience and “Common Ground” tackled policy and power, “Groundswell” closes the loop with a global call to action. It’s rare to see a documentary trilogy stick the landing, especially one built around dirt. This one might actually matter.

“Groundswell” hits Prime Video June 5.

Sara Bareilles is coming back in a big way. The Grammy-winning singer-songwriter just announced Good Grief, her first studio album since 2019’s Amidst the Chaos, dropping August 28 on Epic Records.

The 14-track collection confronts loss head-on while threading hope through its darkest corners. “This whole collection of songs felt like transmissions rather than a deliberate attempt to make sense of the world,” Bareilles says. “My deepest hope is that Good Grief provides some kind of comfort or catharsis.”

First single “Home” arrives today, inspired by a conversation between Stephen Colbert and Anderson Cooper about grief. The album features collaborators like Brandi Carlile, Ingrid Michaelson, and the late poet Andrea Gibson, with production handled by Bareilles alongside Aaron Dessner at Long Pond Studios.

The rollout includes a Good Grief Tour kicking off September 9 in Boston, hitting Radio City Music Hall, Chicago Theatre, and the Dolby Theatre across 18 North American cities. Tickets go on sale June 10, with artist and presales starting June 8.

A documentary capturing the album’s creation premieres at Tribeca Festival on June 4, offering an intimate look at Bareilles returning to the studio after seven years. It’s a creative process laid bare, grief and all.

For an artist who’s conquered Broadway with Waitress and earned Emmy nods for Girls5eva, this marks a deeply personal homecoming to her roots.

An Australian director stuck making corporate videos pitches himself to direct a dinosaur movie for The Asylum, the studio behind Sharknado. They actually say yes. What could go wrong?

MOCKBUSTER drops July 10 in theaters and on digital, just in time for shark week. It’s a documentary about Anthony Frith’s wild six-day shoot of The Land That Time Forgot in suburban Adelaide on a budget he describes as “aspirational.”

Here’s the twist: Frith is directing both the B-movie and the documentary about making it. So you get the full beautiful chaos, rubber dinosaurs, last-minute rewrites, demanding LA execs, and his own self-doubt included.

The Asylum might get mocked, but they’ve built a global empire over two decades. Sharknado became a phenomenon. Their mockbuster model actually works.

What starts as a chronicle of chaotic production becomes something more. It’s about chasing the dream through the absurd hustle of genre filmmaking and finding success where you didn’t expect it.

The doc got competitive national funding from Screen Australia, proving the country’s documentary scene is thriving. Executive producers include Tickled filmmaker David Farrier.

Opening night includes a red carpet screening July 9 at Laemmle Glendale, plus runs in Philly, Indy, Toronto, and Portland.

For indie filmmakers wondering if they should take the shot, this one’s for you.

A documentary about one of the world’s most visible performing arts companies is finally getting a wide release. UNBROKEN: The Untold Story of Shen Yun drops on major streaming platforms June 12.

Director Fiona Young got rare access to follow an American family of Shen Yun dancers during training and on tour. The result is the first documentary ever made about the classical Chinese dance company, which tours eight companies globally and sells out theaters in major cities every year.

The film follows brothers Jesse and Lucas Browde, both principal dancers, as they navigate life in a company that’s become a target. According to the doc, Shen Yun has faced years of pressure and alleged interference from the Chinese Communist Party, campaigns that escalated sharply in 2022.

The company was founded in 2006 by artists looking to revive traditional Chinese culture outside modern China’s political restrictions. That mission has apparently made them a persistent target.

“When art, freedom, and truth are being challenged, the most important thing you can do is make sure people can see the full picture,” said executive producer Steve Lance.

UNBROKEN already streamed for free on NTD TV and GJW+ for two months, pulling over a million views. Now it’s available in 14 languages and has over 100 theatrical screenings lined up across five countries.

For indie filmmakers, it’s a reminder that docs about cultural resilience and creative freedom still find massive audiences when the access is real and the stakes are high.

Picture a football league where grass won’t grow because it’s too cold, roads don’t connect towns, and icebergs loom as constant reminders that winter never really ends. That’s Greenland, home to the world’s shortest football season, just one week long.

No Place For Football follows B67, a club from Nuuk, as they journey north to compete for the national championship in Ilulissat. Led by captain Patrick Frederiksen and head coach Nicolai Nielsen, the team battles brutal conditions, injury struggles, and a fierce rivalry with hometown club N48.

Directors Brandon Scott Smith and Derek Sullivan Smith secured rare access to capture the Arctic Circle football experience. The 91-minute doc premiered at DocLands earlier this month and hits digital platforms worldwide May 29th, just ahead of the FIFA World Cup.

The timing’s pointed. Greenland still isn’t part of FIFA, meaning its players compete purely for love of the game, not global glory or sponsorship deals.

For indie filmmakers chasing authentic sports stories, this one’s got all the elements: remote location shooting, cultural specificity, and a David vs. Goliath setup that doesn’t need Hollywood polish to connect.

A trippy 35mm fever dream is bringing its hairy monsters to Canadian screens. “Lucid,” the debut feature from directors Deanna Milligan and Ramsey Fendall, kicks off its theatrical run May 29 in Vancouver before expanding across North America this summer.

The film follows Mia, an art student facing expulsion, who downs a magical elixir to break through creative block. It works, but also unleashes dark creatures from her subconscious, including her mother transformed into a hairy beast. Shot on 35mm and Super 8 in Victoria, it’s got strong 90s art-punk energy.

“Lucid” made waves at Fantasia, where Ebert.com called it one of their 10 most anticipated films and dubbed it “darkly psychedelic.” It went on to screen at Brooklyn Horror, Sitges, and Fantaspoa, then took home Best First Canadian Feature at Victoria Film Festival.

The cast includes Caitlin Acken Taylor, Georgia Acken, and Vivian Vanderpuss from RuPaul’s Drag Race, who also designed and wears the hair monster costume. Acclaimed genre producer Peter Phok (Pearl) joined as executive producer earlier this year.

Filmoption is handling the Canadian release, while Dark Star Pictures will bring it to U.S. theaters and digital platforms. For indie filmmakers shooting on film stock and practical effects, this is what breaking through looks like.