“The best documentaries are independent. They don’t exist to serve interests, philanthropic or otherwise.”
― Nick Fraser
Documentary Feature


In this genre-bending tale, Errol Morris explores the mysterious death of a U.S. scientist entangled in a secret Cold War program known as MK-Ultra.

Josh Cabrita

The fictional sequences (not “dramatizations,” “recreations,” or “simulations”) interspersed throughout Errol Morris’ six-part series invite us to investigate the conflicting testimony regarding the death of a scientist at the hands of the CIA during the Cold War. In Wormwood, Morris approaches these postulations as a skeptic, creating an epistemological wormhole that unsettles nearly all conventional understandings of documentary form.

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