Journalist Amy Goodman is the host and executive producer of Democracy Now, an independent, radical left-wing journalistic platform that is praised in the (still) free world. For almost three decades it airs on public television and radiostations worldwide, telling otherwise unheard stories, and calling out authorities.
Her passion for justice, boundless curiosity and unapologetic compassion have made her the (inter)national beacon for what journalism should be: a check on power, and a place where marginalised groups are given a voice. Or, as Carl Deal and Tia Lessin assert in Steal this Story Please!, the greatest force for good.
Goodman is at the centre of the film, which begins with a typical scene from the recent past. At an international climate conference, she follows the American representative of the Trump administration like a pit bull, asking critical questions about climate policy. Only when he slams the door of his office in her face does she take a moment to catch her breath. The film makes clear, Goodman will take on everyone, without fear or distinction.
The film then delves into her professional past, exploring how she was a fan of The Phil Donahue Show as a student. It was the only talk show that addressed socially relevant issues, and she wanted to work there. When that didn’t work out, she quickly started her own morning show at the independent radio station WBAI.
Goodman is portrayed in conventional manner via interviews with colleagues and protégés, as well as lots of archive material from reports she made in various often risky locations around the world, and her own commentary. There is also material from her personal archives, which doesn’t really dive into her personal life, except where it is relevant to understanding her drive and sense of justice.
But there is ample attention given to her high-profile achievements, such as bringing to light more than seventeen years of oppression and genocide of the population of East-Timor by the Indonesian army. Literally risking her own life, she and her New Yorker colleague Allen Nairn reported on an attack on an innocent crowd, which spread around the world and led to international condemnation of the Indonesian and American authorities, as the Indonesian army was trained by US personnel, and provided with American support. For Goodman, there was nothing better than seeing established media outlets run with the stories she had created – because that meant they were having an impact. “Steal this story, please!” was her credo.
The film also shows how far Goodman went in upholding her moral principles. When she gave airtime on Democracy Now to a prisoner who wrote a column about life on Death Row, radio stations withdrew, but she was not deterred. Her tenacity also led to the release of wrongfully convicted prisoner Maurice Beckham, who had been in prison for more than thirty years. Continuous coverage on her morning show managed to overturn the verdict.
The film showcases remarkable achievements and provides insight into her work, both in the field and at the Democracy Now studio. The programme has grown from humble beginnings as an anarchist show to its present status a respected and influential voice in journalism.
The only unfortunate thing is that the person behind the journalist remains invisible; only her dog, Zazu, represents her personal life. That said, perhaps the personal and professional Amy Goodman are one and the same, providing us with a glimmer of hope. As does this richly filled, extremely fascinating film which, furthermore shows just how much the concept of a free press is in danger.
United States, 2025, 101 mins
Director: Carl Deal, Tia Lessin
Production: Karen Ranucci for Xceptional Communications
Producers: Tony Tabatznik, Dominique Bravo, Tom Morello, Rosario Dawson
Cinematography: Cliff Charles, Nausheen Dadabhoy, Julia Dengel,Keith Walker
Editor: Mona Davis
Sound: Gautam Choudhury, Hayden Jackson, Francisco LaTorre
Sound Design: Eliza Paley
Music: Zoe Keeting
World Sales: Elsewhere Films
With: Juan González, Nermeen Shaikh, Sharif Abdel Kouddous, Jeremy Scahill
