As schools reopen this fall, a new documentary offers an intimate look at a distinctive educational experiment taking place in New Jersey. The film follows the inaugural year at a “free school,” a type of institution rooted in anarchist educational philosophy that emerged as a critique of traditional, Industrial Revolution-era schooling models. Unlike conventional schools, this one has no mandated classes; students and teachers collaboratively establish rules and activities through democratic voting.

The documentary, filmed by Amanda Rose Wilder in a direct cinema style reminiscent of Albert and David Maysles’ work, captures the school’s largely unstructured environment without providing much background on the educators or parents involved, nor details about state accreditation or practical concerns. Viewers observe children engaging in activities like examining light and shadow in paintings, crafting art, using workshop tools, and exploring a nearby drainage canal. However, the film also highlights tensions between safety concerns—where adult authority is maintained—and the school’s commitment to egalitarian decision-making. One student, Lucy, challenges a safety rule prohibiting jumping off plastic bins onto a mattress, proposing instead to set guidelines for safer jumping. The school director, Alex Khost, acknowledges the ongoing uncertainty about whether this model will prove effective, suggesting that outcomes may only become clear decades later.

In another documentary, “Secret Mall Apartment,” released in 2025, filmmaker Jeremy Workman profiles a group of artists who clandestinely created a livable space inside Rhode Island’s Providence Place mall during the early 2000s. Led by artist Michael Townsend, who had previously explored themes of gentrification and homelessness, the group furnished an underused alcove within the shopping center, turning it into a covert apartment accessible from outside. The project involved transporting furniture and construction materials into the space and creating a sense of home with personal touches like framed photos and a china cabinet. While the group did not consistently occupy the space overnight, it served as both an artistic statement and a form of resistance to commercial norms. The film includes original footage shot by the participants, showcasing the logistical challenges and the sense of defiance that helped them evade mall security for a time. The space also sparked discussions about the commitment to this unconventional dwelling versus their primary residences.

Also debuting in 2025, “Zodiac Killer Project” by Charlie Shackleton offers a meta-commentary on true-crime storytelling through the lens of a film that was never made. Shackleton initially sought to adapt “The Zodiac Killer Cover-Up,” an obscure book presenting an alternative theory about the California serial killer case, but was unable to secure the rights. The resulting documentary instead explores his vision for the film alongside a critique of true-crime genre conventions. Using narration over quiet 16-millimeter footage of California locations, Shackleton highlights recurring tropes such as evocative B-roll shots of tape recorders, shadows, and country-inspired music. He reflects on the genre’s ethics and audience motivations, referencing works like “Monster: The Jeffrey Dahmer Story,” which he praises despite its portrayal of violence. Though he does not address David Fincher’s well-known “Zodiac,” Shackleton’s film embraces absence as a thematic device, suggesting that this reflective project might surpass the adaptation he originally intended to make.

Collectively, these documentaries showcase alternative approaches to education, community, and storytelling, raising questions about structure, ownership, and the ways stories are told and consumed.