The New Yorker Studios

A prisoner in a state-of-the-art penitentiary begins to question the purpose of the emotion-controlling drugs he's testing for a pharmaceutical genius.

When Margot, a college sophomore, goes on a date with the older Robert, she finds that IRL Robert doesn’t live up to the Robert she has been flirting with over texts.

Reality in Ukraine was divided into two periods - before the war and after. Every citizen tries to be useful in this national resistance. Ukrainians change their professions and adapt to the needs of wartime. In art workshops, sculptors make anti-tank obstacles. Silent figures of Ukrainian figures, angels, Cossacks and multiple copies of Jesus Christ, like a terracotta army, froze in anticipation of new creations. Masters weld metal defenses for the Armed Forces of Ukraine.

Ken Bone became an overnight sensation after participating in a Clinton-Trump town hall in 2016, but the excitement of the moment came with some unexpected consequences.

Mammoth Pictures has inked a deal out of Cannes with the Bulgarian production company Bazuka to exclusively develop and produce a narrative feature take on the cultural tradition spotlighted in Kukeri, their documentary short produced for The New Yorker.

A property dispute led to one family's displacement from their ancestral home. Today, their youngest daughter is left to pick up the pieces—all of them fitting within two storage units.

A quiet take on a very noisy subject—the rise of hate and intolerance against the LGBTQIA+ community—as two young brothers observe and absorb their first Drag Story Hour. A refrain of “It’s okay” underscores their experience, and this simple utterance takes on a multitude of meanings in its repetition, from assurance to question, hope to fear.

A group of Malian refugees trained themselves to battle relentless bushfires, protecting their camp, their livelihood, and Mauritanian locals in a short documentary by David Alexander.