For more than a decade, filmmaker Margaret Brown, a native of Mobile, Alabama, has worked to document the American South. In 2004’s Be Here to Love Me, she recounted the life and career of legendary Texas singer-songwriter Townes Van Zandt. With The Order of Myths (winner of the 2009 Independent Spirit Truer Than Fiction Award), she looked at the complex racial dynamics at play in her hometown’s annual Mardi Gras celebrations. And in The Great Invisible, she traveled from boardrooms to the backwoods, talking to CEOs, small business owners, and the rural homeless to contemplate the fallout along the Gulf Coast from the Deepwater Horizon oil rig explosion.

For her new Field of Vision short, The Black Belt, Brown returned to Alabama to examine how the shuttering of 31 driver’s license offices — all located in predominantly black districts — has directly impacted voter enfranchisement in a state that requires photo IDs at the polls. In the following interview, Brown talks about following a mobile voter ID unit in Alabama’s rural “Black Belt” region, the challenges of developing relationships in the field on a limited time frame, and her experiences as a feature filmmaker working in the short form.

You get the call from Field of Vision, asking if you’re interested in pursuing this story of DMV closures in your home state of Alabama. Where do you start?

Brown: They had closed the DMVs, but to help counter the closures, they got this mobile voter ID — they call it a “unit” — to go around to every county in Alabama. I was poking around and found a website that listed where this mobile voter ID truck was traveling to in Selma. So we drove around, but the address on the website was wrong. It was like in the middle of a field somewhere.

To find the real address, I had to call the assistant to the secretary of state, who was helping us with the interviews, and it’s in this area of Alabama where there’s not even cell coverage. So from the get go — wow, the major way of transmitting the information doesn’t even have the correct address.

I would imagine it’s already a challenge to articulate the real-life effects of an administrative decision, but here it immediately got more complicated in that this initiative to combat the DMV closures is a problem in itself. How do you approach where the point of view of the film is going to be in relation to a situation that’s several layers of messed up?

Brown: We were figuring out as we went along. I didn’t want to have an opinion going in about whether this was politically motivated or not. I just wanted to see what would happen if I followed the mobile voter ID unit, what would happen if I talked to the secretary of state about why these closures were happening. I did my homework and I read a ton about it, and I talked to local politicians to figure out whom I should interview — but other than that, I decided that I would insert myself into these situations and just see what we got.

What was your take on it going in?

Brown: I thought it was strange that in the most African-American part of the state, that they had closed all these places. Getting a driver’s license is the most common form of voter ID, and in a state that’s ranked last in terms of ease of voter registration, they just made it a lot harder for the poorest and most Democratic part of the state. And it was only going to save $100,000 in the whole state’s budget. So I had a question about that going in. But I also didn’t want to go in with, “Oh, I know already what I think.” To me, that’s always a bad place to start with a movie, because you won’t be surprised. You’re closed off to anything happening.

Your process sounds great for being able to really see what’s there, but you’re also going in without a net, not knowing in advance how you’re going to make it work, especially at a condensed length.

Brown: It was a little scary. But I was interested in this idea of, what if it’s not a traditional narrative? I think it ended up being not untraditional, but the logic of it is like a wave, not a three-act structure. And I think you can do that with a short film. I was interested in playing with that — how far can I push this? I was also interested in making something that really was a short film, and wasn’t a “longer short” film. I really wanted it to be 10 or 12 minutes.

The most important thing to me would be that it felt like the place and made you think about whether or not this is voter suppression. But not in a beating-you-over-the-head, activist way — feel the place and see the people and come up with your own thoughts. We ended up hanging out a lot in Selma. This is a place in the Black Belt where there’s a lot of history. It just organically evolved and became a portrait of a place. Once we got that scene in Selma, we were like, “Why don’t we hang out here a little bit longer?”

What did you come to know about Alabama that you didn’t know previously? Did your perspective change at all making this film?

Brown: I was definitely very aware of my whiteness, and my relative wealth, in a way that I don’t think I was making The Order of Myths. A lot of the people in the African-American Mardi Gras have money — it’s a different group of folks.

Here it was [cinematographer] Jeff Peixoto and me and a white sound guy, in this pretty impoverished part of the state, walking around asking people to talk about voting. And I felt white. I’m asking myself, “Am I the right person to be making this?” I’m not a complete essentialist, and I think that I can go and interrogate this and see what I can find, but the reason I put myself in the movie is because I think it’s important to see that I’m this white woman making the movie. The audience should take that into account when they’re watching the film.

How did you determine how much of yourself to put in, and where?

Brown: In the first edit, I was in the movie a lot, but I think a little goes a long way. I decided to just have it in the beginning, where you see me looking for a pen. Which is very indicative of how I am — I always lose the pen, I’m scattered that way. And you can hear me asking the questions — my voice is more present in the film than in other films I’ve made. I felt that my voice should be a part of it, that my presence should be a part of it. It adds another level of meaning.

How long did you shoot for, and where?

Brown: We had four official days of shooting. I went around Selma and Montgomery, and called a ton around the state. Mostly in the Black Belt but a little in Mobile, because I’m from there and it was easier to get people to talk to me. Another challenge with the short form is that you can’t pull the same weight. Usually what I do is I go in and really get to know somebody and embed myself in a community so they trust me. They let me film them because they know who I am as a person. It’s a real relationship.

But with this, I’m going in there for 30 minutes — I’m getting it and then taking off. And that was really hard for me. Because to me it’s a two-way street — I don’t want people to think I’m stealing a part of their soul. Maybe people who do regular journalism or reporting have made peace with that, but it was rough for me. I just felt guilty somehow, that they didn’t know where I was coming from. They were just signing a release and I was taking off. So that was probably the roughest part for me, trying to get someone to talk to me in a real way, when I have such a limited time to establish that relationship.

What did you do to make yourself, and the people you were interviewing, more comfortable?

Brown: The only thing I could do was call in advance. But still you would meet people in the field. So I talked about the questions I was interested in, without answering them. I said that I would like to hear about this from your perspective. These were the everyday people that we encountered walking around the neighborhoods, who aren’t scholars or politicians or public people, the people who better embody that place. It’s tricky editing, knowing that this is going to represent them. Is this a truth of this situation? Can I get behind this?

Even if you’re the one doing it, you’re still wondering if you can get behind it.

Brown: All the time. I want to get it right. I want to get the balance right.

Do you feel that you got close to that balance?

Brown: I do. I would have kept editing it if I didn’t. When it starts to feel like it did when I was there, emotionally, then I’m getting closer. I feel that I could have made a longer piece if I shot there longer, but not with the material I had. With the material I had, I made something that felt representative of Selma late 2015, and how people feel about this thing on both sides of the issue.

How did you feel in the end about working at this short length?

Brown: Shorts are having a moment right now, and it’s cool to be part of that. People are paying attention to them in a way that they haven’t in the past. I still like the feature length, because it gives a viewer a chance to know that you’re going to hear a story and you’re on this ride. Psychologically, that’s something I’m interested in.

But for living on the internet — like this short ultimately will — I think it’s kind of a perfect length for getting something across. It’s digestible in a different way. Shorts have a different logic than features. And it’s nice to get feedback on something that took a month to make, instead of four to six years of my life. So it’s been interesting to think about how I might want to move forward with other work. This kind of expands the palette of what’s possible to tell stories.

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Field of Vision announces today a new fellowship and its first-ever artist-in-residence. 

The Field of Vision fellowship is a year-long, collaborative program designed to support filmmakers in achieving their long-term artistic goals. The four 2018 Field of Vision fellows are: director Garrett Bradley (AloneBelow Dreams); director, actor, and activist Michelle Latimer (RiseChoke); filmmaker Charlie Lyne (Fish StoryBeyond Clueless); and Lyric Cabral, director of the Emmy-winning documentary (T)error.

“We are establishing this fellowship program to support filmmakers beyond project-based commissions, and to invite artists to collaborate in our editorial process," said Field of Vision executive producer Laura Poitras.  

The first year of fellows were selected from filmmakers who had worked with Field of Vision over the last three years. In addition to creating a framework for idea development, creative support, and a grant, Field of Vision will conduct workshops throughout the year in the areas of digital security, research, and legal issues. Fellows will also be invited to participate in Field of Vision’s editorial process, from identifying urgent stories to offering filmmaker feedback and guidance.

“We have wanted to support filmmakers in as many ways as possible since the beginning of Field of Vision,” said executive producer Charlotte Cook. “We are so thrilled to create these fellowships to be able to collaborate further with these incredible artists, all of whom are visionaries whose work is at the forefront of exploring the ways of combining art and storytelling and expanding the form.”

In addition to the four fellows, Field of Vision and First Look Media are jointly supporting data artist Josh Begley as an artist-in-residence in 2018. On staff at The Intercept since 2014, Begley has regularly collaborated with the publication’s co-founder Jeremy Scahill on multiple projects, including The Drone Papers. Begley’s first project as artist-in-residence is Concussion Protocol, a short film made with footage of all reported concussions sustained in the NFL this season. It has been viewed over 1.6 million times. 

January was a landmark month for Field of Vision. Yance Ford’s Strong Island, made with support from Field of Vision, was nominated for an Oscar for Best Documentary Feature, marking the first nomination for an openly transgender director. 

Five Field of Vision-supported documentaries also screened at Sundance Film Festival, and three received special jury awards: Steve Maing’s Crime + Punishment; RaMell Ross’s Hale County This Morning, This Evening; and Maxim Pozdorovkin’s Our New President

Founded in 2015, Field of Vision has funded over 70 shorts and provided support for 10 feature documentaries. Field of Vision is the recipient of the International Documentary Association’s Best Short Form Series award and a News and Documentary Emmy nomination. 

About the Fellows:

Garrett Bradley

Garrett Bradley is a New Orleans-based filmmaker. Her debut feature documentary,Below Dreams, premiered at the 2014 Tribeca Film Festival. Her work has been exhibited in several prominent venues, including the Getty Museum, Hammer Museum, Sundance Film Festival, Tribeca Film Festival, Festival du Nouveau Cinema Montreal, International Film Festival Rotterdam, Rooftop Films, New Orleans Film Festival, Hot Docs, and SXSW. Her short film Alone (Sundance 2017), which was released as part of the New York Times’s Op-Docs series, won a Sundance Jury Award and was shortlisted for an Academy Award. She has received fellowships from the Sundance Institute, Ford Foundation, and Andy Warhol Foundation for the Visual Arts. Garrett is also the co-founder of Creative Council, an artist-led afterschool program that helps high school students develop strong portfolios and applications for college. She currently teaches filmmaking at Loyola University.

Recent Field of Vision films: Like (SXSW 2016), The Earth is Humming (to be released)

Lyric Cabral

Director Lyric R. Cabral creates investigative work that exposes new information for the public record. Cabral’s directorial debut (T)error won an Emmy for Outstanding Investigative Documentary and was hailed by Variety as "a vital exposé.” (T)error has screened at more than 50 film festivals worldwide and is now available on Netflix. Lyric is a recipient of the International Documentary Association’s Emerging Filmmaker Award and has been featured in Filmmaker Magazine’s 25 New Faces of Independent Film. A current Rockwood/ Just Films Fellow, Lyric is a former Sundance Women in Film Fellow and a veteran of Sundance Institute’s Edit Lab and Creative Producing Lab. Prior to making films, Lyric worked as an editorial photojournalist; her photography was recently on exhibit in Gordon Parks: The Making of An Argument at the Berkeley Art Museum & Pacific Film Archive.

Recent Field of Vision film: The Rashomon Effect (in production)

Michelle Latimer

Michelle Latimer (Métis/Algonquin) is a Toronto-based writer, director, activist, and actor. Her body of work includes Choke (Sundance 2011), which received a Sundance Film Festival Special Jury Honorable Mention in International Short Filmmaking and was chosen as one of TIFF Canada’s Top Ten in 2012; The Underground (TIFF 2014); Nimmikaage (Oberhausen 2016); the feature-length documentary ALIAS, which was nominated for a Canadian Screen Award; and the Viceland docuseries Rise (Sundance 2017). Michelle is currently working on her first dramatic feature The Freedom Project, adapting the bestselling novel The Inconvenient Indian (HBO/NFB) for screen, and being the showrunner for the seriesRed Nation Rising, which is in development for Sienna. She has programmed for ImagineNATIVE, Hot Docs Film Festival, and the Dawson City International Short Film Festival.

Recent Field of Vision film: Nuuca (TIFF 2017, Sundance 2018)

Charlie Lyne

Charlie Lyne is a filmmaker and film critic, best known for the essay films Beyond Clueless and Fear Itself. He has also directed a number of shorts, including the award-winning documentary Fish Story, and the 10-hour protest film Paint Drying. His work has screened at festivals including Sundance, International Film Festival Rotterdam, and SXSW.

Recent Field of Vision film: Personal Truth (IDFA 2017)

About the Artist-in-Residence:

Josh Begley

Josh Begley is a data artist and app developer based in Brooklyn, New York. He is the creator of Metadata+, an iPhone app that tracks U.S. drone strikes. Begley’s work has appeared in Wired, The New York Times, NPR, The Atlantic, The Intercept, The Guardian, New York Magazine, and at the New Museum of Contemporary Art.

Recent Field of Vision films: Best of Luck with the Wall (Doc Stories 2016, True/False 2017), Concussion Protocol

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American football is a beautiful sport. There’s a tremendous amount of grace that goes into it. For a moment, men can fly; the highlight reels are spectacular.

It can also be horrific — like watching someone get hit by a car.

Since the season started, there have been more than 280 concussions in the NFL. That is an average of 12 concussions per week. Though it claims to take head injuries very seriously, the National Football League holds this data relatively close. It releases yearly statistics, but those numbers are published in aggregate, making it difficult to glean specific insights.

I have been tracking these injuries all season. Using a variety of methods, including reviewing daily injury reports from NFL.com, I have created what I believe is the most complete dataset of individual concussions sustained during the 2017-2018 season.

The resulting film, “Concussion Protocol,” is a visual record of every concussion in the NFL this year.

This film does not make an argument for ending football. Rather, it invites a set of questions. In the spirit of Saidiya Hartman, I am interested in “defamiliarizing the familiar.”

When we watch American football, what are we seeing?

By cutting together only these scenes of injury — moments of impact, of intimacy, of trauma — and reversing them, I hope to open up a space to see some of this violence anew.

In his recent book “Black and Blur,” Fred Moten asks, “What is it to rewind the given? What is it to wound it? What is it to be given to this wounding and rewinding?”

Representing this series of collisions in reverse — and in slow motion or “dragged time” — I hope to make strange what has for many of us become normative: the spectacular, devouring moment of a football hit that knocks a player out cold.

Rather than making a film about concussions with a flurry of hard hits, however, I am interested — inspired by Hartman — in looking elsewhere. How might we see the totality of this violence without just replaying the violence itself? “By defamiliarizing the familiar,” Hartman writes in “Scenes of Subjection,” “I hope to illuminate the terror of the mundane and quotidian rather than exploit the shocking spectacle.”

In a moment when black athletes are being chastised for kneeling in protest of police violence, it should not be lost on us that calls to “get back on the field” or “stick to football” are also calls for players to subject themselves to the slower forms of violence the football field contains.

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Field of Vision is debuting their new film, A NIGHT AT THE GARDEN by Marshall Curry.

A NIGHT AT THE GARDEN (Dir. Marshall Curry)

In 1939, twenty-thousand Americans rallied in New York’s Madison Square Garden to celebrate the rise of Nazism – an event largely forgotten from American history. A NIGHT AT THE GARDEN uses striking archival fragments recorded that night to transport modern audiences into this disturbing gathering. With chilling resonance in light of events in Charlottesville and around the country, the film is a reminder about the power that far-right ideology once had in America and a wakeup call about the importance of to addressing it today.

From Field of Vision Co-Founders:

Laura Poitras: "When Marshall approached us with the film two days after Charlottesville, my first thought was, 'we need to put this film in cinemas,' and release it like a newsreel."

Charlotte Cook: “When Marshall first showed us this footage we were stunned. We felt that due to this political climate it was essential to get this film out fast, but also that to do so we needed to try a different style of distribution. By playing in theatres across the country first we hope this the film will be able to reach beyond our usual audience, and into a range of communities and cities around the US. Creating a conversation around the film from the ground up. It’s extremely exciting to be able to do this with Marshall, a filmmaker we’ve been wanting to work with for a long time. And this film is so incredibly well, and thoughtfully, made. We can’t wait for people to see it.”

On Sunday September 24, the film will be shown across the country at 22 screens in Alamo theaters in:

Kansas City

https://drafthouse.com/kansas-city/show/american-assassin

https://drafthouse.com/kansas-city/show/it-2017

https://drafthouse.com/kansas-city/show/kingsman-the-golden-circle

https://drafthouse.com/kansas-city/show/mother

Yonkers

https://drafthouse.com/yonkers/show/3-d-rarities

https://drafthouse.com/yonkers/show/solaris-4k-restoration

San Francisco

https://drafthouse.com/sf/show/ingrid-goes-west

https://drafthouse.com/sf/show/beach-rats

https://drafthouse.com/sf/show/infinity-baby

Brooklyn

https://drafthouse.com/nyc/show/zardoz

https://drafthouse.com/nyc/show/dunkirk

https://drafthouse.com/nyc/show/good-time

https://drafthouse.com/nyc/show/mother

Austin Lakeline

Austin Mueller

Austin Ritz

Austin Slaughter

https://drafthouse.com/austin/show/mother

https://drafthouse.com/austin/show/grindhouse

https://drafthouse.com/austin/show/stronger

https://drafthouse.com/austin/show/the-big-sick

https://drafthouse.com/austin/show/brads-status

https://drafthouse.com/austin/show/tough-guy-cinema-repo-man

The film is also playing at the IFC Center in New York until Friday playing before the 12:30pm showing of “The Unknown Girl."

The film will be part of a special event at the NYFF, and more festivals to come, along with an online release.

About Marshall Curry: MARSHALL CURRY is a two-time Academy Award nominated documentary filmmaker. His film, “Street Fight,” follows Cory Booker’s first run for mayor of Newark, NJ and was nominated for an Oscar and an Emmy. His follow up documentary, “Racing Dreams” tells the story of two boys and a girl who live in rural America and dream of one day racing in NASCAR. It won numerous awards, including Best Documentary Feature at the Tribeca Film Festival, and aired on PBS and the BBC. His third film, “If a Tree Falls, a Story of the Earth Liberation Front” peels back the layers of a radical environmental group that the FBI called the number one domestic terrorist group in the United States. That film won the award for Best Documentary Editing at the Sundance Film Festival and went on to be nominated for an Oscar. Marshall was Executive Producer and an additional editor of “Mistaken For Strangers,” a comedy rock-doc about indie band, The National. Most recently Marshall directed and edited “Point and Shoot,” a documentary about a young Baltimore native who set out on a 30,000-mile motorcycle trip through Northern Africa and the Middle East and wound up joining the rebels in Libya fighting Gaddafi. It won the Grand Jury Prize for Best Documentary at the Tribeca Film Festival and was released in theaters and aired on PBS and the BBC. Marshall is a graduate of Swarthmore College where he studied Comparative Religion and has been a guest lecturer at Harvard, Duke, Columbia, NYU, and other colleges. He lives in Brooklyn with his wife and children.

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Before directing Field of Vision’s latest film, “Duterte’s Hell,” with Aaron Goodman, Luis Liwanag worked as a photojournalist for local and foreign press in the Philippines. In the following essay, he reflects on his transition from taking still photographs to filmmaking, and what it was like to capture the horrors of President Duterte’s “war on drugs.

I discovered photography when I was 11. My family did not own a single camera, but our neighborhood sorbetero [ice cream vendor] had a twin-lens reflex (TLR) camera and would take our family photos for us. I remember we had so many that when I opened my mother’s closet, dozens of photo albums would cascade down from the shelves. My dad, an artist and illustrator, kept stacks of old National Geographic, Time, and Life magazines tucked away in his filing cabinet. I bought my first camera at age 12: a Kodak Instamatic. I guess you could say I was destined to be in this line of work.

As a kid, I would just snap pictures of my friends in school. As an adult, being a photographer has given me the power to make observations about daily life in my country and voice my opinion on certain issues.

When President Rodrigo Duterte came into power, the rampage of extrajudicial killings started. My fellow journalists were covering the night shifts at the police headquarters. Reports would come in—either from radio dispatch or via Twitter—and they would travel to crime scenes in convoys. It was only a matter of time before I decided to started going with them, to see the effects of Duterte’s war on drugs for myself.

Shooting this and other documentaries has been transformative experience for me. When working as a hired photojournalist, I didn’t really set up my shots—I just filmed whatever is happening right in front of me.

And as I witnessed the aftermath of the slayings, I felt like I was reconnecting to my old self. I was a police beat photographer at the onset of my career, but later shifted to more varied issues and mainstream news coverage. I became focused on issues dictated by the editorial policies of media entities that employed me.

Now, as a freelancer—and particularly with this film—I’ve had the leeway to choose stories that I feel I can interpret better visually. And although the nightly spate of killings numbed me in some ways, I felt for the people directly or indirectly affected by them.

A couple of months into photographing the killings in Manila and its surrounding metro area, Aaron Goodman, an educator and video journalist whom I had worked with previously, saw my images on social media and asked me if I was interested in collaborating with him on a video documentary about Duterte’s drug war.

While filming, we had to maintain a low-key lighting style, and only expose for the midtones. I wanted to be unobtrusive and invisible while shooting the events so that we left as few traces of ourselves as possible.

We had a limited amount of time to set up each shot. When you’re filming events as they unfold, you don’t really have control over what is going to happen. You have to visualize the image in your mind’s eye beforehand, and shoot whatever occurs in the moment.

While filming, we were very attuned to the sounds, textures, emotions and details of each scene. My approach was to linger in a single framed shot as if it was a single image and slowly transition into another well-composed frame and capture the entire story happening between those frames.

Although I am an advocate of still photographs and what photography great Henri Cartier- Bresson calls “the decisive moment,” I have discovered that video, though more fleeting, can be equally powerful in stringing together single images to make a powerful statement.

See Goodman and Liwanag’s film here:

To see more work by Luis Liwanag, visit his website here. To see the work of Aaron Goodman, visit his website here.

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STANLEY NELSON AND LAURA POITRAS PRODUCED DOC SHORT SERIES TO PREMIERE ONLINE AT FUSION

New York, NY (May 17, 2017) - Starting May 18, 2017, Fusion will unveil the first in a series of short films from the Our 100 Days initiative from Firelight Media and Field of Vision. The films explore threats to U.S. democracy and the stories of targeted communities in the current highly polarized political climate. Episodes will be released weekly, beginning with directors Sofian Khan and Nausheen Dadabhoy’s Act of Worship, a rare behind-the-scenes look at CAIR, the Council on American-Islamic Relations, a champion of civil rights for Muslims in the US that finds itself in the crosshairs of a new administration’s policies.

“The current moment in the U.S. is a result of our collective refusal to tell the whole story of America. Not only do we need new stories, we need new storytellers. At Firelight, we have been committed to supporting storytellers of color for many years,” shares documentary filmmaker Stanley Nelson. “The partnership with Field of Vision has allowed us to deepen that support by providing filmmakers of color with the resources and platform necessary to create powerful cinematic narratives that deepen our understanding of these frightening times.”

The series will also feature work from filmmakers: Cecilia Aldarondo, Chelsea Hernandez & Iliana Sosa, Adele Pham, Lorena Manriquez & Marlene McCurtis, Nadia Hallgren, and Jeff Reichert & Farihah Zaman. The films examine, among other topics, the immigration issue through the intimate lens of motherhood; a history of racially-motivated violence in one of America’s most iconic liberal cities; the fight for protections for trans students through the lens of one Virginia teenager; and the rapid response by Muslim attorneys navigating the chaotic rollout of the travel ban.

“This collaboration with Firelight is a way to channel our collective horror about Trump's election. By documenting these first 100 days from the perspective of communities most at risk - immigrants, Muslim Americans, transgender men and women - we want to reveal the threats our country is facing, and not normalize this political moment,” says Field of Vision co-creator Laura Poitras.

Fusion Editor-in-Chief Dodai Stewart adds, "This series of beautiful short films — highlighting social and economic injustices — aligns with Fusion’s mission to cover underrepresented people and amplify the voices of the vulnerable."

In an effort to maximize the reach and impact of the films, local and national organizations will participate in weekly Twitter chats to engage the broad public in online conversations about the issues in the films. The Twitter chats will occur at 1pm ET / 10am PT every Thursday throughout the series run using the #Our100Days hashtag and will be moderated by Firelight Media. The weekly Twitter chats will give online viewers an opportunity to delve deeper into the issues and engage with the film directors, protagonists, and partner organizations.

###

ABOUT FIELD OF VISION

Field of Vision is a filmmaker-driven documentary unit that commissions and creates original short-form nonfiction films about developing and ongoing stories around the globe. Field of Vision is committed to making cinematic work that tells the stories of our world from different perspectives. Our films are distributed through a variety of partners including news organizations, film festivals, online platforms, broadcast, streaming and cable.

ABOUT FIRELIGHT MEDIA & FIRELIGHT FILMS

Firelight produces award-winning films that expose injustice, illuminate the power of community and tell a history seldom told, and connects films with concrete and innovative ways for diverse audiences to be inspired, educated, and mobilized into action. Through our Documentary Lab, Firelight is dedicated to developing and supporting talented, diverse documentary filmmakers who advance underrepresented stories, moving them from the margins to the forefront of mainstream media through high quality, powerful productions.

ABOUT FUSION

Fusion is news for the new America: a young, diverse, social justice-minded audience.

MEDIA CONTACT After Bruce PR Tracy Nguyen-Chung tracy@afterbruce.com 503-701-2115

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