In Ramona S. Diaz’s A Thousand Cuts, the question of whether democracy in the Philippines dies in the 21st century is left open-ended. Having secured victory in the 2016 Philippines election, President Rodrigo Duterte immediately began a violent and militaristic drug war crusade and galvanized a familiar-feeling base of “fake news” supporters hell-bent on threatening violence on anyone opposed to their far right nationalism. The main subject, though, is Filipino-American journalist Maria Ressa, head of the online news outlet Rappler. Ressa and her colleagues are some of the leading journalists investigating Duterte’s drug war, which continues to kill thousands of mostly poor Filipinos.

What makes the documentary so compelling is how modest, strong, and good-humored Ressa is in the face of state violence. As we follow her investigations, we are plunged into the myriad of vile and disturbing social media threats she receives on the daily: calls for her rape or execution by firing squad and horrendous misogynistic harassment, coupled with continued calls for legal retaliation by Duterte himself. “It takes a certain type of boss,” one of Ressa’s colleagues says tearfully, “to stand up against a greater power when they’re already on the receiving end of so many attacks.”

Indeed, it will astonish audiences how Ressa is able to maintain such unwavering and relentless persistence through it all. In one scene, Ressa’s sister angrily but tearfully professes her concern for her. Ressa brushes it off. “It is what it is,” she responds, more concerned about a shampoo bottle she forgot to pack. “What I do will determine how real this is. The only way to not be afraid is to understand the worst case scenario and embrace it.” It’s an incredibly relatable and riveting moment, and one that rightfully casts Ressa as an ordinary citizen trying to do what’s right rather than some saint-like martyr.

We are also treated to various scenes of the Philippines’ 2019 senate elections and the campaign of Duterte’s military crony, Ronald dela Rosa, a former police general who has overseen crackdowns that have led to countless extrajudicial killings. There is also archival footage of Ressa’s interviews with Duterte, including prior to his election in which his incendiary rhetoric will pave the way for his eventual win.

If you’re familiar with the worldwide attacks on the free press, such as the Jamal Khashoggi murder, and the increasing political authoritarianism around the globe, A Thousand Cuts will give you even more reasons to worry. Diaz’s film owes its journalistic urgency to Ressa, whose fate remains to be seen.

Although the exact call to action here can sometimes be unclear—for instance, Diaz could’ve provided some details about the allocation of arms sales from the U.S government to the Duterte regime—it is a story very much in need of telling, and hopefully, concluding. Let us hope Maria Ressa makes it out in one piece, not just for her own sake, but also for the sake of free speech, justice, and democracy worldwide.