New 70-minute documentary profiles poet and artist Etel Adnan
A 70-minute documentary puts Lebanese-American poet and artist Etel Adnan centre screen.
The film is titled 'Adnan being and time'. It was directed by Marie Valentine Regan, the filmmaker credited with shaping its interviews, images and structure.
It is listed as a 2026 France-U.S. production with a runtime of 70 minutes, according to the Rockaway Film Festival. It runs lean. A co-production, in plain terms, means teams and support from two countries, and 70 minutes places it between a short and a full-length feature — a tight festival slot.
The Rockaway Film Festival keeps a dedicated event page for the title and includes it in its 2026 archive. An archive listing is the festival's public record of what it selected or presented in a given year. An event page is where practical details and programme notes normally live for audiences browsing that year.
The listing presents the film as a portrait of Adnan, whose working life crossed poetry and visual art. A portrait documentary, in this sense, is a non-fiction film built around one person. No specialist background is needed to follow that set-up: the subject is the life, the words and the images.
More of the paperwork sits with the makers. The official film site gathers the film's description, specifications and key collaborators on its About page. The same page carries biographical information about Adnan, giving new viewers a place to start.
Press discussion has followed. A review published on 30 September 2026 examines Adnan's radical mind and legacy through the documentary, according to ARTnews. That publication date makes it the latest dated account among the sources listed here, and it frames the film as an inquiry into how Adnan thought and what she left behind.
What makes this stand out for a general audience is access. At just over an hour, it asks for one evening's attention rather than a deep dive. For viewers curious about a writer who also made art, the festival page and the official site offer two clear doors in: one organised by screening context, the other by the filmmakers themselves.
