A Love Song for Latasha, the Academy Award-nominated short from Sophia Nahli Allison, opens with the rewind of a VCR tape image, a slow breath of
Feature
Imagine a space where filmmakers can discuss the issues they are facing in their careers and find a community of support. The Undocumented Filmmakers
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.