Continuing the theme of #DecolonizeDocs that was first initiated at Getting Real ‘18, the 2020 edition’s first focused session on the South Asian region made for a highly dynamic and valuable breakout. Accommodating those joining in from the “motherland” time zone (of which there were plenty, including myself), the session hit the ground running at 7 AM Pacific Time with Anam Abbas, co-founder of Documentary Association of Pakistan, moderating and skillfully navigating the two-hour conversation. The all-too-familiar limitations to the digital realm aside, the excitement for the session was

Getting Real ‘20, our biennial conference on documentary media, happened from September 9 through Oct 3. On the opening day, we joined “ Expanding Expression: Audio Descriptions and Captioning in Film.” The makers and artistic collaborators of Vision Portraits and Crip Camp discussed the creative process behind their use of accessibility features such as audio description (AD) and closed captioning (CC). Moderated by Brenda Coughlin (Director of Producing and Impact Strategy, Sundance Institute), panelists included Crip Camp co-directors Nicole Newnham and Jim LeBrecht; Vision Portraits

While we are missing being with each other in person, we’re looking forward to nurturing our relationships with members of the documentary community online. Here are 10 reasons why you won’t want to miss this year's edition of #DocsGetReal.

With Getting Real '20 quickly approaching, we met with the supporting programming team to see what they have planned for this year’s digital conference. Read more about what changes they’ve made to adapt to this unique moment in time and what exciting events they have in store this year. Stephanie Owens (SO) is a filmmaker based in Los Angeles. She has programmed with Palm Springs ShortFest, Sundance and LA Film Festival. She's also contributed to POV and festival and funding juries. Nat Ruiz Tofano (NRT) is a queer and multiracial documentary filmmaker based in Oakland, California. Nat has

My name is Paul. I enjoy a good movie and consider myself the “George Costanza” of films. Over the years while watching the Oscars, they would name the category of Best Documentary. All the time I would wonder where do you see these films? Serendipitously, I saw IDA’s screening of films at the Landmark for free. Free can’t be all bad. Can it? I saw my first IDA Documentary Screening Series film, The Witness, in 2016. It was the story of the rape and murder of Kitty Genoves that was reportedly observed by 38 people who did nothing to stop it. I went with a friend who was convinced of the

Thirty-seven years since IDA was launched, the documentary form has soared in popularity, keeping us attuned, informed and endlessly curious. Not only have documentaries become a staple of every digital streaming platform available, but they have transformed into episodic content, audio stories, animation and immersive, new media experiences that have widened the scope of what a documentary means, or can achieve. As the 35th anniversary of the IDA Documentary Awards approaches, we reached out to some of the prime movers behind the awards, as well as some of the past winners, to give us a sense

The podcast space, even with hundreds of thousands of titles proliferating the market, is still emerging and evolving. Like documentary filmmaking, the podcast promises compelling stories and examines important issues. The overlap is organic. But the two also underlap, if you will, as podcasting’s audio-only limitations invite inventive, cinematic use of sound, engulfing the ear to incite the imagination. Ultimately, the audience is coaxed into seeing sound. For the podcast-curious, leading podcast producer Wondery and IDA offered a day-long program on August 24 of topic-specific panel

My exposure to documentary film was quite limited growing up. Like many, I got my fair share of Ken Burns clips and maybe an episode of PBS FRONTLINE in high school, but for the most part, I knew very little about documentary film. Enter, the IDA Documentary Screening Series—a godsend to a documentary novice like myself trying to grasp the nuances of nonfiction storytelling. Gliding up the escalator of The Landmark to my first screening, Three Identical Strangers, I was greeted by a line of ecstatic filmgoers of all ages. I expected to see many people my own age; free entertainment is a huge

As a documentary filmmaker with one project in distribution, one in post and one in development, it felt like a perfect moment to attend IDA’s Getting Real 2018. Having more than one project to lean on, I was able to seek out industry wisdom from a variety of angles thanks to a professional development grant from the Regional Arts and Culture Council in Portland, OR, where I’ve lived since 2010. I’ve been to film festivals before and admit that I enjoy looking at massive schedules, circling too many films, and trying to get to them all. What I always forget is that ideally one does this while

The ArcLight Cinema and its surroundings are not typically crowded at 9:00 a.m. on a weekday morning. But over the past three days, the area was swarming with credential-wearing, tote-carrying documentary filmmakers and smiling, helpful, eager volunteers clad in bright orange T-shirts. Nonfiction had descended on Hollywood. What were my takeaways from Getting Real? Fifty-two pages of furiously scribbled notes, two large handfuls of precious business cards, a long list of documentary films to catch up on, reconnections with old friends I had not seen in years, and many new acquaintances made