Today’s documentary filmmakers are pitted against each other in fiercely competitive structures for funding, platforms, exposure and distribution. As
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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
When Bonni Cohen and Lisa Chanoff founded Catapult Film Fund in 2010 to support documentary filmmakers with development funding, “The fundamental idea
In October 2016, when my first son Gray was born in San Francisco, I became intensely aware of the relationship between children and screens. Would I
I opened an email message from Jim LeBrecht, sound designer and mixer, disability rights advocate, and co-director with Nicole Newnham of the film
When planning began for Getting Real '20, IDA’s biennial conference on documentary media, Maggie Bowman, the newly hired director of programming