The new documentary by Dawn Porter (“John Lewis: Good Trouble”), “Rise Again: Tulsa and the Red Summer” marks a somber anniversary: the centennial of the 1921 Tulsa Race Massacre, in which as many as 300 Black Tulsans were killed — and a neighborhood known as Black Wall Street destroyed — during a race riot in the aftermath of the arrest of a Black teenager accused of assaulting a White girl. But Porter’s film — which relies heavily on the reporting of Washington Post journalist DeNeen L. Brown, who appears in the film as a consultant and guide — doesn’t just go over the same ground Brown has written about extensively. Rather, the film, and Brown, metaphorically, walk in the footsteps of journalist Ida B. Wells, contextualizing Tulsa in the larger narrative of White resentment of Black success that exploded violently into the open two years before Tulsa, in 1919. Dubbed the Red Summer by writer and civil rights activist James Weldon Johnson, the period included multiple incidents White violence against Black Americans in such cities as East St. Louis, Omaha, Washington and Elaine, Ark. The film’s context is powerful and sobering, and not just because of what it unearths from 1919. “Rise Again” opens and closes in a Tulsa cemetery, where searches are ongoing for the mass graves of Black Tulsans, but it places the events of the past in an even wider frame: against the backdrop of today’s headlines about police shootings and the continuing calls for racial reconciliation. Unrated. Available on National Geographic and Hulu. Contains some disturbing archival images, discussion of violence and mature thematic elements. 88 minutes.

— Michael O'Sullivan

Also streaming

The documentary film festival “AFI Docs” opens Tuesday with a timely profile of tennis player Naomi Osaka, and runs through June 27, with a mix of virtual access and in-person screenings at the AFI Silver. This year’s offerings — featuring 77 films from 23 countries — also includes “Roadrunner: A Film About Anthony Bourdain” and “Summer of Soul (. . . Or, When the Revolution Could Not be Televised),” the directorial debut of Ahmir “Questlove” Thompson. Full lineup and virtual screening access is available at docs.afi.com.

Oliver Masucci plays the late German filmmaker Rainer Werner Fassbinder (“The Marriage of Maria Braun”) in the dramatic biopic “Enfant Terrible.” According to Screen Daily, Oskar Roehler’s film is “somewhat repetitive, but it’s never boring. It’s just not very insightful.” Unrated. Available on iTunes, Amazon, Google Play, Xbox, Vudu, Dish Network and major cable providers. In German with subtitles. 134 minutes.

Based on Matthew Logelin’s memoir “Two Kisses for Maddy, “Fatherhood” is a dramedy by director/co-writer Paul Weitz (“Grandma”) about a widower (Kevin Hart) struggling to raise his daughter (Melody Hurd) alone. PG-13. Available on Netflix. Contains some strong language and suggestive material. 110 minutes.

Set on the Italian Riviera, “Luca” is an animated feature from Pixar about a sea monster (voice of Jacob Tremblay) who becomes a human boy on dry land, where he befriends another of his kind (Jack Dylan Grazer). PG. Available on Disney Plus. Contains rude humor, coarse language, some mature thematic elements and brief violence. 95 minutes.

Night Walk” is a crime thriller about an American traveler in the Middle East (Sean Stone, son of director Oliver Stone) who is unjustly arrested and imprisoned by corrupt officials after the death of his girlfriend (Sarah Alami). Mickey Rourke plays a fellow prisoner in this gritty action-thriller about one man’s quest for justice. R. Available on various streaming platforms. Contains coarse language throughout, including derogatory slurs, violence and sexual references. 97 minutes.

The documentary “Revolution Rent” follows co-director Andy Señor Jr., the son of Cuban exiles, and his effort to stage a production of the musical “Rent” in Cuba — the country’s first Broadway musical produced by an American company in more than 50 years. The New York Times writes: “Despite the intriguing premise of the film, its cursory and lopsided narrative approach dilutes its salient themes and messages.” TV-MA. Available on HBO Max. In English and Spanish with subtitles. 90 minutes.