Rory Kennedy Says She Avoids Flying Boeing Jets, Citing Her Investigation in New Film ‘Freefall: A Reckoning for Boeing’

Rory Kennedy, the filmmaker behind the Oscar-nominated documentary “Downfall: The Case Against Boeing,” said she has followed a personal travel rule that excludes certain Boeing aircraft. In a conversation tied to her new film “Freefall: A Reckoning for Boeing,” Kennedy told Deadline that she does not fly on Boeing 737 MAX aircraft or on the 787 Dreamliner, citing concerns she developed through her prior investigation of the company’s engineering and safety decisions.

Kennedy’s comments come as she returns to the subject of Boeing in “Freefall: A Reckoning for Boeing,” a project Deadline describes as extending the scrutiny first presented in “Downfall.” Deadline reported that Kennedy’s earlier Netflix film, released in 2022, investigated what it described as flawed design elements and the wider circumstances around them. “Downfall” is the work Deadline points to as the reason viewers may understand Kennedy’s travel policy.

In discussing why she would still avoid those aircraft models, Kennedy framed her approach as grounded in what she found while making “Downfall.” Deadline reported Kennedy’s repeated emphasis on safety and accountability, underscoring that the personal travel restriction is tied directly to her documentary work rather than a broader preference or unrelated schedule constraint.

Deadline’s interview also describes “Freefall” as an argument that Boeing has not corrected “alarming” safety problems. The coverage positions the new film as a continuation of Kennedy’s ongoing look at how aircraft manufacturers, oversight systems, and internal decision-making can affect flight safety and public trust.

Kennedy’s decision to bring her own perspective on flying into the promotional conversation also highlights how documentary makers can translate research into lived experience. In Kennedy’s case, the documentary topics are not limited to the screen. By saying she will not fly on specific Boeing models, she has connected the films’ themes to everyday choices faced by frequent travelers, families, and airline passengers.

As “Freefall” enters public discussion, the question for viewers and regulators will be how the film’s factual record aligns with the actions Boeing and relevant authorities have taken since Kennedy’s earlier documentary. The Deadline report describes the film’s central claim and Kennedy’s ongoing focus on whether safety problems were fully addressed, without detailing specific corrective measures in the summary provided.

Kennedy’s new project is expected to continue the debate about aviation safety, the pace of technical changes, and the accountability of major manufacturers. While documentary conclusions are presented through film rather than court findings, the renewed attention on Boeing comes with stakes that extend beyond a single company, affecting passengers, airlines, and the broader U.S. and global aviation ecosystem.