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The article critiques the Indonesian documentary film "Jalanan" directed by Daniel Ziv. It discusses the film's plot which focuses on three street musicians who perform on commuter buses in Jakarta, Indonesia. It also examines several of the film's themes which include determination, poverty, politics, globalization, and corruption.

The article presents a criticism of the documentary film "Mongolian Bling" directed by Benj Binks. The feature-length explores Mongolian hip-hop scene, featuring the process of appropriation and exchange of cultural collisions of the contemporary world. It is noted that the documentary's strength is that it does not gloss over the aspects of the early development of hip-hop in Mongolia that may appear incongrous to Western audiences. An overview of the film is given.

An interview with documentary filmmaker Alison Klayman is presented. When asked about her awareness towards the work of artist and activist Ai Weiwei during her film production of him, Klayman mentions her initiation to him of New York photographs at the Three Shadows gallery in Beijing, China. She admits intimidation in placing her camera in front of a figure considered as a legend in Chinese culture. She also notes her difficulty in making his film "Ai Weiwei: Never Sorry."

An interview with Australian filmmaker Sam Voutas is presented. Voutas says that he has been already working in Chinese film industry before the making of his sex shop comedy film "Red Light Revolution" in the country. He says that the dialogue in the said have been written by himself in English and have it translated into Chinese language. He adds venues used in the film include the mid-sized rock venue Yugong Yishan in Beijing.

An interview with film director Tom Zubrycki is presented. Zubrycki says that he started the film with addressing the issue on climate change and eventually narrowing to the Pacific. He mentions that he met Maria Tiimon, star in his documentary film "The Hungry Tide," at a day-long seminar that was organized by the Pacific Calling Partnership, which is a non-governmental organization (NGO) in Sydney. He adds that he is working on a feature documentary/online with his colleague John Hughes.

The article presents criticism of the documentary film "Three Sisters" (San Zimei), directed by Wang Bing. The empathetic style of Wang which emerge from the Chinese tradition of observational documentary was observed in the film which shows the life of three young girls who live in the poverty-stricken village in China. It notes that Wang Bing engages his audience to connect and come to understand with the people in the film.