This article explores recent changes in Hong Kong’s independent documentary filmmaking during a decade of escalating protests in the territory, focusing in particular on cinema’s role in Hong Kong’s “movement field.” It focuses on Ying E Chi, an important distributor and promoter of Hong Kong independent films, the annual Hong Kong Independent Film Festival it organizes, and three recent documentaries it distributes that are relevant to the 2019–2020 protests. Drawing on participant observation at film screenings, interviews with filmmakers and textual analysis, the author argues that independent documentaries function in Hong Kong’s “movement field” in three main ways: by contributing to and providing a space for civic discourse, by facilitating international advocacy and by engaging in memory work. Its contributions to civic culture, it asserts, are reflected in the films’ observational aesthetic, which invites reflection and discussion. Public screenings and lengthy post-screening discussions are important ways in which these functions are realized.