Feature

The documentary industry is hurtling towards transformation. The convergence of a pandemic that has destabilized the industry with endemic racism that

Following the questions posed by my former Multitude Films producing partner Lisa Valencia-Svensson in her essay “Who's Telling Whose Stories To Whom

Since the very dawn of documentary film, BIPOC have held immense value as documentary subjects, yet meaningful commitment to BIPOC filmmaker and

I’ve spent most of my career arguing that Mexicans should make Mexican films. I’ve felt angry whenever others made films about us because we were

Today’s documentary filmmakers are pitted against each other in fiercely competitive structures for funding, platforms, exposure and distribution. As

As we sit in the “golden age of documentary,” the actual gold for many filmmakers, and especially for BIPOC, LGBTQ and disabled filmmakers, is

I am here to provide a China perspective and a feminist point of view, raising some questions about the face of working women, and rather than addressing what we are concerned about as filmmakers, distributors and human beings in a COVID 19 pandemic and politically chaotic era.

What I’m going to talk about today are three of those unseen practices in documentary filmmaking—compensating protagonists, empowering our crews, and questioning who is in leadership.

When we are fighting a pandemic and on the brink of environmental cataclysm and we can’t breathe and our children are locked in cages, what is our responsibility as artists?

Stanley Nelson and Marcia Smith are celebrating 20 years of building Firelight Media into a company that tells eloquent stories about Black people