9 / 10
Official trailer
O.J.: Made in America is Ezra Edelman’s 2016 documentary about O.J. Simpson, following him from his football career through his 1995 murder trial to his later criminal cases, set against the larger story of race relations in Los Angeles and American society. It runs about seven hours and forty-three minutes across five parts, and ESPN Films and Laylow Films produced it. It won the Academy Award for Best Documentary Feature, the longest film ever to win it.
Edelman made the finest thing ESPN ever put its name on, and it’s the film I’d hand anybody who thinks they already know the O.J. story. Nearly eight hours sounds like a slog, and for most of it I didn’t feel the time at all. He keeps pulling the camera back from the man to the city around him, so Simpson becomes a way into race, celebrity and criminal justice in America. It’s a 9, and my only quarrel is with the length.
The Contextual Approach
The film spends real time on Los Angeles race relations, the Watts riots, the Rodney King beating and the other events that shaped the city where Simpson went on trial. That’s the choice I admire most. A standard true-crime documentary would have started at the crime scene, and by refusing to, Edelman shows how one case can expose a whole system.
The football years lay the foundation for everything that follows. They show how Simpson handled race and celebrity long before the trial, and I found those early chapters as gripping as anything in the courtroom.
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Long-form documentary integrates personal and historical material across extended scale. Notice how Edelman situates Simpson within larger context that conventional biographical documentary can’t accommodate.
The Interview Approach
Edelman builds O.J.: Made in America on interviews with dozens of participants, including jurors, attorneys, journalists and Simpson’s associates. Edelman lets their accounts pile up side by side, so several positions on the case get a hearing and no single voice gets to own the story.
The interviews with jurors who acquitted Simpson are the most unsettling thing in the film for me. Edelman lets them explain their reasoning without condemning or celebrating them, and the verdict’s complexity comes through without anyone telling you what to think. I respect that restraint enormously, and I’m not sure I’d have had it in his chair.
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The Race and Celebrity Analysis
An analysis of Simpson’s relationship with race and celebrity runs through O.J.: Made in America and unfolds through the film’s material. The strategy shows how Simpson’s public position evolved in the years since and how the trial concentrated tensions that had developed across the larger period. This builds analytical content that the documentary scale enables.
The verdict reaction footage, showing how differently people responded across racial lines, turns polling data into something you feel in your gut. It’s the sequence that stays with me longest. Statistics I thought I understood suddenly have faces on them, and I found that harder to watch than the trial itself.
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Craft Note
In O.J.: Made in America, you can see how long-form documentary works through historical contextualization at scale that conventional features can’t accommodate. The production’s Academy Award and growing reputation confirmed its status. The extended length required commitment from audiences, though this picture rewards engaged viewing through its analytical breadth.
Is O.J.: Made in America as good as people say?
I call O.J.: Made in America required viewing, and I’d put it at the top of any list of long-form documentaries I’d recommend. It gets its 9 by treating one notorious case as a key to American race relations, celebrity and justice, and by trusting viewers to stay with it for nearly eight hours. The length is the only thing I’d argue with, and it’s a small argument next to what Edelman pulls off.
