Smile, Smile, Smile...

Take a Long Strange Trip with the Grateful Dead, guided by Bar-Lev's deft hand, and executive produced by Martin Scorsese. The documentary is currently nominated for Best Music Film at the 2018 Grammy Awards, taking place January 28th, 2018, and shortlisted for the Best Documentary Academy Award.

"One of the greatest rock docs ever made."
- Los Angeles Times

"Tells the story beautifully, organically, and, by the end, tenderly."
Boston Globe

"The brilliance of Long Strange Trip is that Bar-Lev allows for multiple interpretations."
AV Club

"Bar-Lev is a gifted and intuitive documentarian."

- GQ


"I love ambiguity, but I don't like when people mistake aspiring for ambiguity with the notion of not having a point of view."

"I think stories should have a point of view, and really a moral dimension."

- ABL, The Drum

A Few Trailers.


The Tillman Story.

"This documentary succeeds triumphantly on so many levels that its full impact doesn't hit you until you have time to register its aftershocks."

- Rolling Stone

"The Tillman Story is ferocious filmmaking, but it wouldn't have half the force it does if the director didn't also get at the complicated man Pat Tillman was."



Happy Valley.

"Mesmerizing; a devastating portrait of a community-and, by extension, a nation-put under a spell, even reduced to grateful infantilism, by the game of football."

- The New Yorker

"[A] thorough, thoughtful and disturbing documentary."

- Los Angeles Times


My Kid Could Paint That.

"A mysterious, gripping meta-documentary. A movie that reflects upon the thorny, unpredictable process of capturing a real-life story on film at the same time it's trying to figure out what the story is."

- Newsday

"A fascinating subject handled with intelligently provocative care."

- Variety



"Concert films may be all the rage, but it will be hard to top the glitz and missionary zeal of this look behind the scenes and in front of the crowd at the star-laden Madison Square Garden show to benefit the victims of Hurricane Sandy."

- Film Journal International

"You get a real feeling for the crazy quilt of tristate community, bonded by crisis and 'Baba O'Riley'."

- Time Out


Amir’s distinctive approach to directing reflects the unusual path he took to become one. As a teenager, he learned how to do multi-projector ‘liquid' light shows. Pestering the hippie masters of this lost art and scouring junk yards for old projectors, he eventually perfected the craft until he was doing installations and projections for stadium concerts and large scale raves. At the same time in college he was double majoring in film and religious studies. This journey typifies Amir’s documentary work where he finds his way into complex subjects through roads less traveled. He punctures the surface and once inside his asks larger human questions. His work returns to the idea that no matter how hard we try to craft and nurture personal 
mythologies, they can be reinterpreted and reshaped by time, circumstances, and the masses. For Long Strange Trip, the first authorized Grateful Dead documentary, Amir set out to make a film about music that actually felt musical in its approach. Allowing interviewees to speak over one another, endlessly digressing into the various stories, and employing everything from musical stems to contact sheets in its sensory approach. The film doesn’t concern itself much with how the Grateful Dead recorded Blues For Allah and In The Dark. It’s more about how Garcia set out to create an artistic endeavor where the divisions between audience and creator would be obliterated. In that way, Bar-Lev is still the teenager behind the wall of slide projectors.