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Obit.

Obit.

An inside look at life on the New York Times obituaries desk.

201693 minMidcredits score: 88th percentile of all films
Director
Vanessa Gould

How do you put a life into 500 words? Ask the staff obituary writers at the New York Times. OBIT is a first-ever glimpse into the daily rituals, joys and existential angst of the Times obit writers, as they chronicle life after death on the front lines of history.

Where to watch

Where can I watch Obit.?

As of October 24, 2026, MovieCove lists Obit. streaming on AMC+, Curiosity Stream and Kino Film Collection via Prime Video and to rent or buy on Apple TV and Prime Video.

Subscription

via Prime Video

Your rating, lists and review

Highlights

What stands out about Obit.?

Obit. earns 3 badges, led by Crowd Pleaser and Preferred by US Viewers.

  • Reception
  • Awards and box office

Reception

Is Obit. worth watching?

Obit.'s Midcredits score is the 88th percentile of all films, from 2.7K ratings across 6 sources. 77% liked it (rated it 7 or higher out of 10).

Midcredits score

How well it was received

88th percentile

Better received than 88% of films

72nd percentile among Documentary88th percentile among 2010s
Acclaim (how much people like it)86th
Approval (how many liked it)87th

72 /100

86th percentile of all films

63rd percentile among Documentary85th percentile among 2010s

Critics 72 · Audience 72

Critics and audiences broadly agree.

Rating distribution

A broad spread centered near 7.2 — solid but not unanimous.

77% liked it

87th percentile of all films

74th percentile among Documentary88th percentile among 2010s
77% rated it 7–1023% rated it 1–6

Critics 93% · Audience 76%

On Rotten Tomatoes, a bigger share of critics approved than audiences.

Awards

0 Oscars won · 0 Oscar noms · 0 wins / 1 noms overall

Reach

How many have seen it

46th percentile

2.7K ratings across platforms

73rd percentile among Documentary50th percentile among 2010s
TMDB popularity, last 37 days to Oct 26Up 22% in 30 days

Box office

Domestic gross$315K
Worldwide gross$315K

73rd percentile earner in its genre.

What reviewers say

Common ground

This is a well-crafted, moderately interesting documentary about the craft of obituary writing at the New York Times.

Fans praised

  • surprisingly upbeat take on a morbid subject
  • fascinating glimpse into a unique journalistic process
  • witty, elegant, and gracefully unsentimental tone

Detractors panned

  • lacks narrative tension and surprises
  • overly safe, anodyne treatment of the topic

What stands out

AtmosphereDivisive75

upbeat, celebratory tone despite subject matter

Humor75

deadpan wit and surprising laughs

Characters72

engaging, quirky journalists fully profiled

OriginalityDivisive70

unique subject but conventional documentary treatment

Emotional impact70

moving and life-affirming, bittersweet

Cinematography70

visually striking with archival footage and photos

Plot and story45

no real narrative arc or unexpected elements

Pacing40

runs too long for some, lacks narrative drive

Preferred by

US vs non-US

Preferred by US Viewers

US viewers scored it 11 points higher than non-US viewers.

Watch experience

What is Obit. like to watch?

Conclusions only — categories and positions, no plot detail.

Food for thought: browse every movie of this kind

Watch this when you want something to think about afterwards.

It is gentle, takes its time and leaves you thinking. Skip it when you want things to move fast.

ToneFeelDemandwhat the answer rests onexact position · filled zone: the category

What it asks of you

Patience.

What it feels like

Food for thought.

Moods
ContemplativeWarmBittersweet
Heaviest: late
Wry humor: Amused and slightly dry about it.
Register
Wry · 7% of films: Amused and slightly dry about it.Warm
Told as
Episodic · 13% of films: Loosely connected incidents rather than one driving plot.
ToneThe film presents its subject with a wry, affectionate observation, treating the writers' work with respect and gentle humour.
The rideThe mood is steady, thoughtful, and gently affectionate throughout, building toward an emotional closing montage that questions life's meaning and mortality.
StructurePresents the work and lives of obituary writers in a series of vignettes and interviews.

How it leaves you

what you carry away

Thinking.

The answer rests on this: Thought-provokingHopeful
Why it leaves you this wayLeaves the viewer reflecting on the craft of summing up a life and the value of telling stories, with an uplifting sense of purpose.
How it ends · evidence
Bittersweet ending

Story archetype

where it sits among all films
Monster — 21% of films. A threat menaces the hero's world and must be defeated.Rags — 3% of films. A rise from lowliness to fortune, status, or recognition.Quest — 10% of films. A journey toward a defined objective, with companions and obstacles.Voyage — 4% of films. Into a strange world and back again, changed.Comedy — 11% of films. Confusion and cross-purposes resolved into harmony.Tragedy — 9% of films. A flaw or fixation drives the protagonist to ruin.Rebirth — 13% of films. A stalled or darkened life reopened and renewed.Mystery — 7% of films. A question drives the story — who did it, what happened, what is real — until it is answered.No archetype — 22% of filmsPredator — 6% of films. A creature or killer hunts the protagonists (Jaws, Alien).Tyrant — 6% of films. A human villain holds power over the hero's world (Die Hard).Invasion — 2% of films. An external force attacks the home or world (Independence Day).Oppressive state — 2% of films. A government, its agencies or a secret faction inside them is the monster (V for Vendetta).Corporate villainy — 1% of films. A company or its bosses are the monster (Erin Brockovich).Institutional injustice — 1% of films. A court, prison, police force, school or church is itself the enemy (Spotlight).Class system — under 1% of films. The gap between rich and poor, or a rigid hierarchy, is the monster (Parasite).Technology turns — under 1% of films. Technology people rely on becomes the threat (The Terminator).Inner demon — 1% of films. The monster is within — addiction, illness, a dark double.Underdog triumph — 2% of films. Rise through competition or contest (Rocky).Social ascent — under 1% of films. A climb in class or status (Pretty Woman).Fame and fortune — under 1% of films. An artistic or showbiz rise (A Star Is Born).Rise and fall — under 1% of films. Wealth or power gained, self lost (Scarface).Hidden worth revealed — under 1% of films. The protagonist's true value finally recognized.Treasure hunt — 1% of films. Retrieve an object of value (Raiders of the Lost Ark).Rescue — 4% of films. Retrieve or save a person (Saving Private Ryan).Mission — 5% of films. Accomplish or destroy a defined objective (Mission: Impossible).Journey home — under 1% of films. The goal is getting back (Finding Nemo).Pilgrimage — 1% of films. The journey itself transforms; the destination is symbolic.Portal fantasy — under 1% of films. Transported into another world (The Wizard of Oz).Fish out of water — 2% of films. Displaced into an unfamiliar social world (Elf).Survival ordeal — 1% of films. Trapped in a hostile environment, fighting back (Cast Away).Time displacement — under 1% of films. Unstuck in time (Back to the Future).Descent — 1% of films. A night-journey into an underworld or subculture (After Hours).Romantic comedy — 4% of films. Lovers kept apart by confusion, united at last.Comedy of errors — 3% of films. Mistaken identity or misunderstanding drives the plot.Farce — 2% of films. Escalating absurd chaos and coincidence (The Hangover).Buddy comedy — 1% of films. A mismatched pair forced together (Rush Hour).Comedy of manners — 1% of films. Social codes and class satirized (Clueless).Hubris — 1% of films. Pride or ambition invites the fall (There Will Be Blood).Obsession — 2% of films. A fixation consumes the protagonist (Black Swan).Corruption arc — 2% of films. Step-by-step moral decay (The Godfather).Doomed love — 2% of films. Love destroyed by circumstance (Brokeback Mountain).Crushed by fate — 3% of films. Destroyed by forces beyond the protagonist's control.Redemption — 3% of films. Moral reawakening of a hardened soul (A Christmas Carol).Healing — 5% of films. Recovery from grief or trauma (Good Will Hunting).Liberation — 2% of films. Breaking free of a confining life (Room).Second chance — 2% of films. A stagnant life re-opened to love or purpose (Groundhog Day).Puzzle — 1% of films. A clue-by-clue puzzle you can try to solve before the reveal (Knives Out, Clue).Investigation — 5% of films. A long pursuit of the truth that may never be fully solved (Zodiac, Memories of Murder).Enigma — 2% of films. The mystery is what is real, or what is actually happening (Mulholland Drive).
Every story archetype, clockwise from the top
  • Monster 21%: Predator 6% · Tyrant 6% · Invasion 2% · Oppressive state 2% · Corporate villainy 1% · Institutional injustice 1% · Class system under 1% · Technology turns under 1% · Inner demon 1%
  • Rags 3%: Underdog triumph 2% · Social ascent under 1% · Fame and fortune under 1% · Rise and fall under 1% · Hidden worth revealed under 1%
  • Quest 10%: Treasure hunt 1% · Rescue 4% · Mission 5% · Journey home under 1% · Pilgrimage 1%
  • Voyage 4%: Portal fantasy under 1% · Fish out of water 2% · Survival ordeal 1% · Time displacement under 1% · Descent 1%
  • Comedy 11%: Romantic comedy 4% · Comedy of errors 3% · Farce 2% · Buddy comedy 1% · Comedy of manners 1%
  • Tragedy 9%: Hubris 1% · Obsession 2% · Corruption arc 2% · Doomed love 2% · Crushed by fate 3%
  • Rebirth 13%: Redemption 3% · Healing 5% · Liberation 2% · Second chance 2%
  • Mystery 7%: Puzzle 1% · Investigation 5% · Enigma 2%
  • No archetype 22% (this title)

No archetype fits — true of 22% of films: ensemble pieces, satire, slice-of-life.

Why this archetypeDocumentary about the New York Times obituary writers; not a narrative with a plot archetype.

What it's about

7 groups · 53 themes
Bonds — 27% of filmsSelf — 22% of filmsPower — 7% of filmsMorality — 16% of filmsSurvival — 15% of filmsSociety — 9% of filmsIdeas — 5% of filmsRomantic love — 15% of filmsMarriage — 2% of filmsFamily bonds — 21% of filmsParenthood — 2% of filmsFriendship — 9% of filmsLoyalty — 4% of filmsIdentity — 14% of filmsComing of age — 5% of filmsAging — under 1% of filmsSelf-worth — 7% of filmsAmbition — 7% of filmsPurpose — 9% of filmsMemory — 3% of filmsObsession — 3% of films. A fixation consumes the protagonist (Black Swan).Power — 2% of filmsCorruption — 3% of filmsGreed — 3% of filmsClass — 3% of filmsOppression — 4% of filmsFreedom — 5% of filmsJustice — 13% of filmsDuty — 2% of filmsRevenge — 4% of filmsGuilt — 3% of filmsRedemption — 6% of films. Moral reawakening of a hardened soul (A Christmas Carol).Forgiveness — 1% of filmsSacrifice — 4% of filmsBetrayal — 5% of filmsDeception — 9% of filmsSurvival — 17% of filmsWar — 1% of filmsViolence — 4% of filmsMortality — 2% of filmsGrief — 6% of filmsTrauma — 7% of filmsMental illness — 1% of filmsAddiction — 1% of filmsIllness and disability — under 1% of filmsCommunity — 14% of films. Consequences reach a town, institution or group.Isolation — 5% of filmsPrejudice — 3% of filmsDisplacement — 1% of filmsFaith — 3% of filmsTradition vs change — 2% of filmsFame — 3% of filmsLegacy — 4% of filmsFate — 1% of filmsFree will — under 1% of filmsTruth — 4% of filmsHope — 5% of filmsNature — 2% of filmsArt — 4% of filmsTechnology — 1% of filmsSelfDutyMorality
Every theme, clockwise from the top
  • Bonds 27%: Romantic love 15% · Marriage 2% · Family bonds 21% · Parenthood 2% · Friendship 9% · Loyalty 4%
  • Self 22%: Identity 14% · Coming of age 5% · Aging under 1% · Self-worth 7% · Ambition 7% · Purpose 9% · Memory 3% · Obsession 3%
  • Power 7%: Power 2% · Corruption 3% · Greed 3% · Class 3% · Oppression 4% · Freedom 5%
  • Morality 16% (this title): Justice 13% · Duty 2% (this title) · Revenge 4% · Guilt 3% · Redemption 6% · Forgiveness 1% · Sacrifice 4% · Betrayal 5% · Deception 9%
  • Survival 15%: Survival 17% · War 1% · Violence 4% · Mortality 2% (this title) · Grief 6% · Trauma 7% · Mental illness 1% · Addiction 1% · Illness and disability under 1%
  • Society 9%: Community 14% · Isolation 5% · Prejudice 3% · Displacement 1% · Faith 3% · Tradition vs change 2% · Fame 3% · Legacy 4% (this title)
  • Ideas 5%: Fate 1% · Free will under 1% · Truth 4% · Hope 5% · Nature 2% · Art 4% · Technology 1%

Morality

Duty · 2% of filmsMortality · 2% of filmsLegacy · 4% of films
Observes its theme: Presents its theme neutrally, declining to judge.Intimate stakes: Consequences reach a person or a household.Ensemble lead
How it treats its themeThe film explores the writers' dedicated craft of distilling a life into a few hundred words, constantly circling the nature of death and what remains after.
StanceThe documentary quietly watches the obituary writers at work without moralising, letting their craft and reflections speak for themselves.

The world

ContemporaryUrbanInstitutionalRealistic
Orchestral modernSupportive music · original score · Joel Goodman
SettingNew York Times newsroom and its staff
MusicMusic underlines the film throughout, with one standout visual-choreographed sequence to the score.

Cast and crew

Who is in Obit.?

Crew

Directed by

Vanessa Gould

Cinematography

Ben Wolf

Edited by

Kristin Bye

Music by

Joel Goodman

Produced by

Sally Rosenthal, J. Ward Regan, Kenn Rabin, Katrina vanden Heuvel, Josh Wick, Diana Barrett
+8 more, Pamela Tanner Boll, Ann Blinkhorn, Anne Milliken, Vanessa Gould, Caitlin Mae Burke, Barbara Dobkin, Geralyn White Dreyfous, Nion McEvoy

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