Directors Liz Garbus and Elizabeth Wolff discuss their new film, Give Me The Ball!, with fellow Director Ondi Timoner in a Q&A at the DGA theater in Los Angeles. In the conversation, they discuss collaborating with Billie Jean King to open up about some of the more intimate and uncomfortable moments of her life, reflecting on Billie Jean’s impact through her 1970s archival materials compared to her modern day interview, and working as a co-directing pair for the first time.

Screened as part of the DGA’s Documentary Series, the film takes a look at world champion tennis trailblazer Billie Jean King and her game-changing impact on culture and sports. Rare archive footage and candid interviews reveal how one woman put changing the world ahead of saving herself.

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Today we chat with Ondi Timoner - the only filmmaker to have twice won the U.S. Grand Jury Prize for Documentary at the Sundance Film Festival, for Dig! (2004) and We Live in Public (2009); both films were later acquired by New York's Museum of Modern Art for its permanent collection.

 Her documentary Last Flight Home (2022), about the final days of her father Eli Timoner, was shortlisted for the Academy Award for Best Documentary Feature and received an Emmy nomination for Exceptional Merit in Documentary Filmmaking.

This is an amazing conversation with an amazing person. Don't miss it!

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Award-winning director Ondi Timoner has been named the Honored Filmmaker at the 2026 CASCADIA International Women’s Film Festival, celebrating its 10th anniversary. Recognized for her groundbreaking documentaries and commitment to elevating underrepresented voices, Ondi will present her work, lead a masterclass, and participate in special screenings including Last Flight Home, All the Walls Came Down, and DIG!.

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All the Walls Came Down, directed by Ondi Timoner, has been officially shortlisted for the 98th Academy Awards® in the Documentary Short Film category. Selected among 15 films out of 117 qualified entries, the film captures the aftermath of the Eaton Fire in Altadena and the resilience of a community coming together in the face of loss. The recognition highlights the film’s urgent storytelling and growing national impact as it continues to bring visibility to an ongoing crisis.

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Award-winning director Ondi Timoner recently lost her home in the devastating California wildfires, just months after premiering THE INN BETWEEN. This powerful documentary takes audiences inside America’s only hospice for the homeless, showcasing the transformative care provided to those in need. Through intimate storytelling, the film highlights the unexpected realities of homelessness and offers a model for communities to follow. Ondi hopes it will inspire leaders nationwide to create similar facilities, providing dignity and care to society’s most vulnerable. Watch her ABC News interview here…

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‘All God’s Children’ Review: A Brooklyn Synagogue and a Church Seeking Unity Offer an Edifying Parable for Our Time

“An edifying parable for our time… Consequential and instructive.”

“With All God’s Children, Timoner gives her older sister an affirming but unsentimental close-up.”

“It’s hard to imagine that any of these participants would have felt as deeply about each other were it not for confronting those missteps. There’s a lesson in that, and the film makes a persuasive case that at least two Brooklyn congregations and their leaders, have a great deal of practical wisdom to share.”

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“All God’s Children offers an important tool for community building, especially with four more years of Trump ahead.”

“[All God’s Children] echoes the sentiment that struck many viewers in Vice President Harris’s eloquent concession speech: it’s only when it’s darkest that one sees the stars. [The film] is a portrait of what it means to reach for the stars—and remember that the multitude of stars shining ultimately brightens the sky.”

“Viewers should emerge enlightened and ready to listen.”

“[The] scenes are complicated reminders of the importance of nuance, empathy, curiosity, and keeping your ears and heart open.”

“It’s a productive reminder that people can work through their misunderstandings with respect and a willingness to grow from their mistakes.”

“Timoner’s fly-on-the-wall approach invites a viewer to be an active listener in these conversations.

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“Thoughtful and Powerful… Ondi Timoner captures a turbulent but inspiring story— this film gives us hope.” “[An] inspiring story of interfaith harmony in gentrified Brooklyn.” “In the 20 years since her breakout film Dig!... Ondi Timoner has positioned herself as a great explorer of the times we live in, usually while that history is still unfolding.” “All God’s Children is unusual in that, although it, too, is very much in and about the present moment, it’s a film that’s also in dialogue — thoughtfully, and powerfully — with the past.” “Timoner’s film doesn’t shy away from the hard work that needs to go into making a dream such as this a reality.” “[The film] hones in on a peculiar overlap in American society, drawing parallels between two seemingly chalk-and-cheese communities that have much more in common than they realize “The film ends on an unexpectedly optimistic note.” “This film gives us hope.

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Typically Ondi Timoner works with a bigger canvas than she does in “The Inn Between,” with the director of the decade-spanning “Dig!” and the globe-trotting “Cool It” spending a mere four seasons at the Salt Lake City-based hospice of the title which was founded as the only care facility of its kind to offer end-of-life and recuperative care to the unhoused beginning in 2014.

At a concise 71 minutes, it may be one of her smallest films in scale as she follows a handful of patients at the center, but when approaching people with an unusually open heart and mind has always been a part of her gift for filmmaking, the film also feels like one of her most expansive as it becomes a moving survey of a collection of people expecting their days to be numbered upon entering after difficult lives on the street and revived at least in a spiritual sense when treated with dignity.

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20 Years After ‘DIG!’ Revitalized rOCK docs, Ondi & David Timoner Add More Chaos & Context To A Sundance Classic - The Deadline Q&A
Dig!, a documentary about two bands – The Brian Jonestown Massacre and The Dandy Warhols – is a musical trainwreck, equal parts romantic comedy and horror film that follows the highs and lows of being a musician, in the studio, on the road and in their own heads.

The film, which launched at Sundance in 2004 and is returning to the festival this year with an extended cut, is a favorite among the musical class. I’ve sat in countless tour vans and crappy motels where it’s watched, quoted and dissected by kids with a dream and a drumkit.

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Timing is everything to documentary veteran Ondi Timoner, and the decision to launch her latest film in January, on New Year’s Day, is no coincidence. Premiered at SXSW in March, The New Americans: Gaming a Revolution is a fast and furious look at the post-Trump, post-Covid world we live in and the virtual spaces that have usurped the traditional norms of interaction and communication.

We have your first look at the film in the trailer above.

The New Americans: Gaming a Revolution deals with a lot of seemingly random issues and pulls them neatly together, notably the rise of the citizen stockbrokers, whose interventions caused havoc on Wall Street when they came to the aid of ailing video game store GameStop after it went public in 2021. This, and Donald Trump’s impromptu party at the Capitol the same year, set her thinking.

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Ondi Timoner’s 2004 documentary Dig! is a masterful blend of everything there is to love about rock music. There is the superb songwriting and guitar playing of both The Brian Jonestown Massacre and The Dandy Warhols, two '90s bands that beautifully blended garage rock and psychedelics to create a unique sound. There’s the vain, petty, and even childish behavior of some of the band members, who obviously heard tales of rocker antics and sought to imitate them. There’s the fierce competitiveness and ferocious drive for success that many '90s bands pretended not to have, lest they seem too interested in commercialism. And finally, there is the frenemy relationship at the heart of the film between the two bands’ frontmen, which veers almost into reality TV territory. As we revisit this remarkably unique rock doc, we’ll see why its embrace of everything both wonderful and terrible about rock’n’roll makes it one of the all-time great music movies.

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