Matthew Cassel has reported on the Middle East for over a decade, including a five-year stint covering the Arab world for Al Jazeera. Living and working in Istanbul, he saw the rising tide of refugees making their way to Europe in 2014. But as he noted in an interview with Field Notes, traditional news outlets were slow to recognize the gravity of the crisis. While coverage existed, media attention didn’t intensify “until Alan Kurdi, who was the young poor kid from Kobaní, inside Syria, washed up on the shore in Turkey — if you remember that iconic image from September of 2015,” he said. “But there were people who were dying, people who were struggling to get to Europe before that.”

Among the more than 1 million people to undertake that journey was Aboud Shalhoub, a Syrian jeweler whom Cassel met in Istanbul. From Turkey to Greece, and through Eastern Europe to the Netherlands, Cassel made the migration with Shalhoub, creating a six-part documentary film recorded over an eventful and tumultuous year. Produced by Field of Vision in collaboration with The New Yorker, The Journey can be viewed here. Reached via Skype in Istanbul, Cassel talked about meeting and growing close to Shalhoub, the importance of telling a parallel narrative of Shalhoub’s family in Damascus, and the value of long-form, ground-level reporting inside itinerant communities.

How did you come to make a film about Aboud Shalhoub? Did you meet organically or were you explicitly looking for a subject to follow?

Matthew Cassel: I live in Istanbul and speak Arabic, and have lived among Syrians and Palestinians and other refugee communities in this region for a very long time. Last year I knew something big was going on, because so many of my Syrian friends in Istanbul were looking for a way out. I was working somewhat regularly for an outlet and tried to pitch numerous stories on Syrian refugees, but there was very little interest among editors, especially those based in the U.S. and Europe. Then I met this guy Aboud. He’s a father trying to make a living for himself in Turkey, working as hard as he can and barely making enough to support himself, let alone his two kids and wife back in Syria. He couldn’t go back to Syria, so he felt his only option was to travel to Europe and apply for asylum and then family reunification. That was the only way he could be with his family. My bosses weren’t really interested in the story, but I was interested in Aboud — I was amazed by his motivation and what he was willing to do to be with his family. So I was like, fuck it — I picked up a camera and started filming with him, and kind of self-funded for the first four or five months. I had no idea, and he had no idea, what would happen one day to the next, and I just got deeper and deeper into it with him until we crossed the whole Balkans by foot.

Did Aboud have a sense that his story was representative of a larger phenomenon? Did he understand the significance of what your making a film about his story could mean?

Cassel: I don’t think so. He’s just one guy. He didn’t see himself representing a bigger trend or anything like that. He’s Syrian, he loves Syria like most Syrians do, and he wanted to stay close to Syria. But he knew, like many Syrians, that he couldn’t go back, and just had this very clear objective to get to a place where he could be with his wife and his kids. And he took it one step at a time until he eventually made it there.

I guess I’m still curious about what you discussed with Aboud in terms of your plans for the film, and why he let you into his life.

Cassel: I don’t know if he was crazy about being on camera or anything — I mean, you always have to question why someone agrees to be filmed. Is it because they want their face on camera, or want their story told, or want help? The way I actually met Aboud was that he was introduced to me through a mutual friend. [Aboud and his brother] were trying to go to Greece, and they came to me because I’m a foreigner and journalist and they thought I might have connections with the U.N. in Greece and help prevent them from being sent back by border guards. Which eventually did happen. I think maybe Aboud and the guys who were with him knew — and rightfully so — that if there was an American journalist with them it would provide some kind of protection if they were to get arrested by border guards. That it could prevent them from being abused or detained and sent back or whatever.

It’s one thing to have an intimacy with Aboud, with whom you wound up spending many months, but during that journey there seems to have been an incredible ease between you and the rest of the emigres as well. The camera just seems to be there.

Cassel: This is how I feel journalism should really be done. You feel like you’re actually practicing real journalism when you can be so close to people as opposed to just getting a sound bite. I completely immersed myself in this group of people and followed them. What helped the camera disappear for the group is that I was doing the trip, just as they were. Sure, I’m an American, I have all kinds of privilege, and my motivations for doing the trip were not the same motivations they had. I’m not trying to claim in any way that I was one of them. But in a sense I was, because I was going through the same hardships that they were. We were sleeping together in farmlands, we were bathing in rivers together, we were getting food from gas stations and were worried about getting arrested by police. I think some people were skeptical of me, but for the core of the group, and the group that I spent a lot of time with, I just became one of the travelers in their group, and I happened to have a camera with me.

There were no other crew members?

Cassel: I did it all on my own.

When did the Damascus part come into it, and how did you manage and orchestrate footage that you weren’t there to film?

Cassel: That was something crucial, because I didn’t want to focus only on the journey. I wanted to tell a full picture of this family. We’ve heard a lot about the journey from various news reports since 2015, what people go through. But for me the most crucial part of this story is the family reunification process. That’s what’s motivating Aboud to do it. People accuse refugees and migrants of coming to Europe to take jobs, or to take money from the rich European states, but for Aboud it was nothing like that. Aboud wanted to get there because he saw it as the only viable option for reuniting with his wife and two kids. So to do this story properly I had to film this bigger story, and that meant also filming in Damascus. For me to get a visa to Damascus would have been very difficult, so I ended up hiring a great young videographer, Simon Safieh, who was able to film with the family. One of the most important parts of the entire series is when we see Christine and the two kids, Joseph and Natalia, leaving home in Episode 5, and saying goodbye to their family. We don’t often get to see how difficult a decision it is for people coming from Damascus — which is an ancient city, one of the oldest in the world — to just get up and go to rural Netherlands. Do you think people want to leave Damascus where they’ve lived for 2,000 plus years and just move? Of course they don’t, so it’s a very difficult choice. It’s really crucial to understand who these refugees and economic migrants coming to Western countries are, and what they’re leaving behind.

Those scenes really are crucial. You get a chance to see that they have a life there, they have a home, which they’re giving up for such uncertainty and often danger. I also love the meaningful banality of him talking about adjusting to the cold and worrying about Christine leaving the warmth of their homeland.

Cassel: I’ve been to many towns in rural Netherlands and Germany and Sweden over the course of the past year, following different families and people who I’ve met along the way. I’ve also been to Damascus many times. And I can tell you that if I had the choice — and no offense against Northern Europe — but I would definitely choose Damascus over, you know, Voorthuizen, Netherlands. I think Aboud would too, but circumstances are beyond his control.

In the fifth episode there’s talk about how much Aboud has changed over the 2 1/2 years he and Christine have been apart, and I wonder what you felt as that evolved, having never met Christine, and having seen the ways Aboud had adjusted to life on his own.

Cassel: I was really nervous about it for them. I mean, this is almost three years of them not seeing each other, and people change over time. Aboud never lived during the uprising and the war and all of that, and Christine was in the heart of it, while Aboud was on his own trying to make a life in Istanbul. I was on the plane with the family before we reconnected with Aboud, and I was thinking: “What’s going to happen when Aboud sees his wife, when he sees his two kids?” When you think about leaving your two children who were around 5 and 2 1/2 the last time you saw them, to not see them for three years, that’s just incredible. No parent should have to go that long without seeing their kids. So it was really hard holding the camera when Aboud finally got to embrace his young daughter and his young son for the first time. They’re different people, you know? They’re probably twice the size that they were when he last saw them. Thankfully I had a second camera person there because I was really struggling to hold the camera steady at that moment — it was very emotional for everyone.

The footage incorporates people in the background at the airport smiling, or just glancing over at the reunion, and I couldn’t help but think that they have no idea what the story is. We see reunions like that every day, and we never know what led people there.

Cassel: After being part of that incident, I now look at families and people waiting and saying goodbye at airports and wonder more about their own stories.

How did you come to shape the film into six chapters and conceive of doling out footage episodically?

Cassel: I’ve worked for a lot of TV outlets that have very structured, fixed formats. But I know that my peers and friends, and especially people younger than me, aren’t relying on TV as much as they once did for news. I love when content is available for free online to whoever has an internet connection. It can be played whenever you sit down at your computer — you don’t have to wait for 8 o’clock on BBC, CBS, or CNN. I’m not interested in TV or distribution or film festivals or anything, I just want the film to go online so everyone can watch it. So the episodic format I think works better for people who are going to sit down and watch 10 or 12 minutes instead of putting in an hour and 20. I think the episodic format works better for that.

I watched it in one sitting, which helped me to see and feel the full arc of the journey. But I could also appreciate how each episode has a shape and thematic thrust of its own.

Cassel: At the end it’s still one narrative. We’d decided on the episodic [structure] after I’d filmed most of it so it was more about editing the episodes down and giving them a unique identity apart from the one before and after. Although if it weren’t an episodic film we might not have done Episode 6. We added this other episode to give more of a contextual picture of what’s happening in Europe at the moment with the rise of the far right, with the attacks on refugees.

Episode 6 also sees us revisit the woman with her daughters we’d met on the journey. Had you been in touch with her throughout?

Cassel: Yeah, those two girls are so important to me. They changed the group dynamic. Before those two girls came it was a group of guys 35 and younger, and everyone’s kind of macho and whatnot. Then these two little girls join the group and turned us into this group of caring uncles. We all felt a responsibility to look out for them. Those two girls are so amazing. I never lost contact with them and I have no plan of ever going out of contact with them.

You can see how they change things in the film. They show up and there’s that moment of, “Oh, they might drag us down, this will make the journey harder,” but then seconds later they’re on everybody’s shoulders.

Cassel: They added so much levity to the journey. It was like, if these 5- and 6-year-old sisters aren’t complaining, how can the rest of us be complaining? They’re just laughing and having fun the whole time, and it was really a joy to have them on the trip. And their mother, Fadwa, is obviously very strong and brave for what she endured and what she did to get them to Sweden.

What’s it like to experience such depth of intimacy, over such a long time, and then publicly share it through your film?

Cassel: I’m very fortunate that I was able to spend time with people like Aboud, Christine, Fadwa and all of the others on the trip, getting close to them so I could tell their stories in an accurate and intimate way. I feel that for various reasons this has been lacking in the reporting of this issue. These are just a few people at the heart of the story, and they’re not necessarily the same as everyone else. I’m really happy that it’s going to be out there, that people are going to get to see at least a few individual stories and get a sense of who these people are, and why they’re making the trip.

IF/Then Shorts, in partnership with Hulu Documentary Films calls short-documentary filmmakers based in North America to take part in the Inaugural IF/Then x Hulu Short Documentary Lab. This lab will channel Hulu and IF/Then’s shared vision of creating a new pipeline of diverse talent and incubating strong voices who will be the next class of non-fiction storytellers.

Program Details:

Four filmmaking teams will be chosen to participate in a one-year lab focused on short-documentary production and career training. For the first six months, filmmakers will be individually mentored through production by IF/Then staff and take part in monthly virtual cohort trainings, consisting of keynotes from industry heavy-hitters and edit consultations. Upon rough cut of their projects, filmmakers will be invited to debut their works-in-progress to an invitation-only audience and receive feedback. For the remainder of the program, filmmakers will finalize their cuts and receive high-level festival and distribution strategy consultations, along with guidance creating their publicity materials, and pro-bono legal support. Hulu will have the right to review the projects for potential acquisition or further development.

Each team will receive a $25,000 grant to use for the production of their film.

This opportunity will be open to individuals living in/from North America, with an emphasis on Black and/or Indigenous filmmakers, people of color, women, LGBTQ+, recent immigrants, and individuals who identify as having a disability. We will welcome any and all stories from underrepresented voices, with a strong preference around subjects related to gender, the LGTBQ community or issues unique to the BIPOC community.

Project Eligibility:

  • In addition to the identity eligibility of the maker and the theme, eligible IF/Then Shorts projects must meet the following criteria:
  • Be an original short documentary with a final duration of 10-20 minutes
  • Be completed within six to nine months of receiving the IF/Then Shorts grant
  • Be factually accurate, follow best practices in documentary ethics, and be designed for a U.S. audience
  • Be driven by (a) compelling character(s), with access to the character(s) secured
  • Be presented in English or subtitled in English
  • Have no prior distribution attached and be able to participate in the IF/Then Shorts distribution initiative
  • All stories and storytellers coming from countries and territories in North America. This includes the United States and its territories (Puerto Rico, Guam, US Virgin Islands, Northern Mariana Islands, and American Samoa,) Canada, Greenland, Belize, Costa Rica, El Salvador, Honduras, Mexico, Nicaragua, Panama, and Venezuela, and countries in the Caribbean: Anguilla, Antigua and Barbuda, Aruba, The Bahamas, Barbados, Bermuda, Bonaire, British Virgin Islands, US Virgin Islands, Cayman Islands, Clipperton Island, Cuba, Curacao, Dominica, the Dominican Republic, Grenada, Guadeloupe, Haiti, Jamaica, Martinique, Montserrat, Saba, St. Andres and Providencia, Saint Barthélemy, Saint Kitts and Nevis, Saint Lucia, Saint Martin, Saint Pierre and Miquelon, Saint Vincent and the Grenadines, Sint Eustatius, Sint Maarten, Trinidad and Tobago, and Turks and Caicos Islands.


The application portal will open on January 15, 2021 and close at 11:59pm EST on Feb 15th.

  • January 15, 2021: Open call for IF/Then x Hulu Short Documentary Lab
  • March 31, 2021: Finalists announced
  • April 5, 2021: Virtual Program Kickoff


Submissions are now closed.

Please direct any questions regarding this application to

Starting July 22, IF/Then Shorts has a new home at Field of Vision. Joining Field of Vision will be IF/Then Shorts Program Director Chloe Gbai and Supervising Producer Caitlin Mae Burke. Founded in 2017 with support from the John D. and Catherine T. MacArthur Foundation, IF/Then Shorts is a fund and mentorship program that supports storytellers in breaking barriers to access, exposure, and sustainability in the media landscape. IF/Then works with creators who experience inequity based on factors such as race, gender, class, sexuality, ability, ethnicity, age, citizenship, and/or geography.

IF/Then Shorts taps into the need for broader geographical representation in the stories that get told through its regional pitch events. It holistically supports short documentary storytellers in their creation of compelling, character-led, community-inspired stories that embody the breadth and diversity of the people and places they represent.

The program addresses the imbalance of representation, perspective, power, compensation, and career longevity among independent filmmakers and media artists. IF/Then Shorts leverages access, expertise, network, and brand to address these challenges. Through grants, mentorship, industry connections, and professional development, IF/Then Shorts helps to ensure that storytellers from a multitude of backgrounds have access to the resources and tools they need to tell their stories, connect with audiences, and thrive in their careers. IF/Then Shorts was previously part of the Tribeca Film Institute, which is planning to pause operations indefinitely in September. "IF/Then Shorts is an incredible program, and one that’s vital to the field," said Charlotte Cook, Field of Vision's Co-Founder and Executive Producer. "We’re so glad that they can find their new home with Field of Vision. The program’s values align perfectly with Field of Vision, and further our overall commitment to shorts and advocating for filmmakers. Chloe and Caitlin are phenomenal, and I feel so lucky that they’ll be joining our team."

IF/Then Program Director Chloe Gbai said of the move: "We’re so excited that thanks to the MacArthur Foundation and Field of Vision we can keep this funding and development pipeline open to diverse, creative nonfiction talent past TFI’s pause this September. This program will have a new life and is ready to uplift the voices that we need to champion during these interesting times."

Supervising Producer Caitlin Mae Burke added: "As a former Field of Vision filmmaker myself, I know how beneficial it is to work with these trailblazers in the short documentary space. I'm overjoyed that all of our active projects and future supported filmmakers will benefit so immensely from this move, and we look forward to the tremendous growth potential for IF/Then possible under the Field of Vision umbrella." IF/Then is currently holding an open call for the North Shorts Grant and Fellowship, in partnership with Points North Institute, The Screening Room, Jigsaw Productions, and the LEF Foundation, for regional filmmakers in the American Northeast. About Chloe Gbai Chloe Gbai is the Director of IF/Then Shorts. Previously, as the POV Shorts and Streaming Producer, she launched POV Shorts, which earned POV its third documentary short Oscar® nomination, two News & Doc Emmy nominations and an IDA Awards nomination for Best Short Form Series.  She has previously worked at Teen Vogue and Viacom, as well as served on review panels and juries for the National Endowment for the Arts, Sheffield Doc/Fest, ITVS, IDA Awards, Black Public Media, Creative Capital, and various other film organizations. She is a member of Brown Girls Doc Mafia and a member-in-residence of the Meerkat Media Collective.

About Caitlin Mae Burke Caitlin Mae Burke is an Emmy-winning producer. Her films have screened and won awards at top tier festivals including Sundance, Berlinale, and Tribeca Film Festival and have been broadcast across the US and around the world. Her work has screened at MoMA, The Museum of the Moving Image, and in movie theaters internationally. She is an inaugural inductee to DOC NYC's "40 Under 40" and alumna of Berlinale Talents. IF/Then currently has funding opportunities available for filmmakers. Please find more information here.

Field of Vision has partnered with Doc Society and Sundance Institute to launch Independent Documentary: Filming in the Time of Corona, a new Risk Assessment Guide for independent documentary filmmakers who are considering starting or resuming production during the COVID-19 crisis and beyond.

Many filmmakers are asking themselves — and others in the documentary field — the big question: Should I be filming at all?

As our field discusses and debates this particular question — and its ethical and and public health implications — Field of Vision, Doc Society, Sundance Institute, and our co-signatories are offering a “living document” that provides guidelines, a checklist, and questions for independent documentary film teams to ask themselves, each other and their partners. It is our hope that this guide will help filmmakers make informed decisions and help keep everyone safe.

We’d like to acknowledge our gratitude to all of the the co-signatories of the Risk Assessment Guide, who helped consult on, and improve the guide: Asian American Documentary Network (ADoc), Asociación de Documentalistas de Puerto Rico (ADocPR), ACOS (A Culture Of Safety) Alliance, Ambulante, American Documentary/POV, Black Public Media, Brown Girls Doc Mafia, Center for Asian American Media (CAAM), Chicken & Egg, DOCUBOX, Impact Partners, Indian Documentary Foundation, Latino Public Broadcasting, National Association of Latino Producers (NALIP), Pacific Islanders in Communications, Perspective Fund, Scottish Documentary Institute, Topic, Vision Maker Media: Native Stories for Public Broadcasting, and others.

This is a rapidly changing situation as well as a long-term reality. Those of us in the documentary field will need to be mindful, flexible, and diligent as our risk assessment continues to evolve in order to keep not only our community safe but also the communities we collaborate with in the stories we tell. This new normal is unprecedented, but our documentary community is nothing if not committed to responding to this profoundly unique situation.

The guide will be updated as the situation develops and as we receive additional feedback from filmmakers and support organizations.

The final round of funding is now closed.

For this final round of funding, we will continue prioritizing providing support to filmmakers of color and filmmakers from other marginalized communities that have been disproportionately impacted by the COVID-19 pandemic.

Field of Vision and Topic Studios have created a $250,000 fund to provide grants for freelancers working in the Documentary field. The fund will distribute unrestricted grants of up to $2000 to support personal financial needs during the COVID19 pandemic to freelancers who have experienced hardship from loss of income or opportunity as a result of the pandemic

Dates and Deadlines


The fund will be open for applications from Wed April 8th from 9am ET until Friday April 10th at 6pm ET or until we reach 1,000 applications. You can find the link to the application at the bottom of this page.


The fund will be open for applications from May 6th from 9am ET until May 8th at 6pm ET or until we reach 750 applications.

Notification of grant approval will be within 20 days of the fund closing, and payments will be processed within 30 days of notification of a grant. June The fund will be open for a final round of applications from June 10th from 9am ET until June 12th at 6pm ET or until we reach 500 applications.


Be able to demonstrate work as a freelancer within the documentary field in roles such as:

- Directors - Producers (This includes Associate Producers) - DPs - Editors - Sound Recordists/Designers - Researchers - Assistants - Critics & Writers who have covered documentaries - Publicists

Other freelance roles will be accepted if they meet the rest of the criteria

Provide a link (examples - IMDB page, Film Review, Direct link to project) that shows professional work in the field.

The fund is eligible for artists internationally, however you must be able to receive funding electronically (we are not able to issue checks), and priority will be given to countries and regions of which there isn’t government freelance assistance that you are eligible for. If you have not been eligible for government assistance, please state that in your application.

Students who are currently enrolled are not eligible.

People who are currently in employment are not eligible.

Please note: We have made every effort to reduce the amount of information, paperwork and requirements for funding and have tried to make the fund as open and accessible as possible. We are largely operating on a trust-based system and really urge you to work with us on being able to maintain this. It’s extremely important to us to be able to get funding to the freelancers that need it the most. Please answer all questions thoroughly and accurately so that we can ensure the funds are allocated to help as many people in need as possible.

Information Needed:

- Demonstrated professional work within the field - Usual income source - Description of situation - Maximum amount requested - Minimum amount requested - What the funding would be used for - Location

Please note: It’s important to include a maximum and minimum amount requested. Also, please note that grants may be taxable as income under the law that applies to you. We will issue Form 1099s for grants of more than $600.

The Process

As always, it is important to us that filmmakers lead how we operate and respond, and so the process will begin with a blind review of applications by a panel of filmmakers and producers, with a simultaneous review by the Field of Vision and Topic Studios teams. Those recommendations will then provide the recommended list for funding, which will then be reviewed once more before contacting the fund recipients.

We will only be contacting those who have been allocated funding.

On receipt of the grant acceptance please expect up to 30 days to receive payment. In order to issue the grants we will need a W-9 or W8-BEN tax form and an invoice which includes wire transfer details.

UPDATE: Our first 200 meeting slots have been booked. However, you can still sign up for the waitlist at the links below as we work to add additional appointment times. Coming this spring, the Field of Vision team will again offer a virtual "office hours" service for the documentary community. As we’re in a moment of uncertainty, we want to make ourselves available to filmmakers in any way we can. We understand that the industry is experiencing a lot of upheaval, and that this is a particularly difficult time for freelancers and people working independently.

We will be allocating time every weekday to have video meetings and calls. We’ll be prioritizing filmmakers who’ve been affected by festival postponements and production changes, but will also be available to offer a range of mentorship and consultation around a variety of areas.

At Field of Vision we like filmmakers to lead and improve how we work. We were inspired by Jeanie Finlay, who has opened her time to mentoring after an upcoming film shoot had to be cancelled. Jeanie is working on a new film that we’re extremely honoured to be supporting. 

We are a small team and will try our best to make ourselves available to as many filmmakers and producers as possible. If any other members of our community would also like to donate their time, we are happy to facilitate this as well, so please feel free to reach out to us.

The areas which we would like to offer consultation on are below: 

  • General mentorship
  • Feedback on proposals and grant applications
  • Project Development
  • Online Distribution
  • Digital Engagement
  • Partnerships
  • Pitch Training
  • Editing
  • Technology & Digital Security
  • Distribution
  • Editorial Feedback
  • Festival Strategy
  • Career Guidance

This is not just open to filmmakers wanting to submit work for us to review, or filmmakers we have worked with before. If you feel you would benefit from time with our team on any project you’re working on please feel free to reach out. There are more details on how to take part below.



If you would like to have a virtual meeting about any of the above, please follow this link to book a time:

(We will also be adapting to demand, and will create a waitlist, and/or increase availability if needed.)

Submissions & Pitches

While we are still managing and prioritizing our regular submissions system, we would also like to make time for project and pitch meetings.

To sign up for a pitch meeting with us, please make sure you have submitted through our system prior to the meeting, using the link below:

Once you have submitted through our submissions form, please sign up for a meeting slot here. NB: We won’t be able to take any meetings around potential projects until you’ve submitted through the system. If you’re not ready to discuss a specific project, or are looking for more general advice, please use the first form.

Please bear with us as we begin rolling out our virtual office hours service. This initiative came together very quickly, so there may be hiccups. We just wanted to offer something to start. 

As we navigate these uncertain times, what is certain is that we are a strong community of creatives and storytellers. We have shown time and again how resourceful we are, how dedicated we are to our craft, art form and field, and how supportive we can be of each other. 

Please stay safe everyone, The Field of Vision Team


The Facility (26 min.)

Seth Freed Wessler

America (29 min.)

Garrett Bradley

We Were There to Be There (27 min.)

Mike Plante and Jason Willis

The Rifleman (18 min.)

Sierra Pettengill

Utuqaq (27 min.)

Iva Radivojević

More to Watch

Days of Black and Yellow (10 min.)

Lotfy Nathan, Willie Miesmer and Ray Levé

The Hour of Lynching (19 min.)

Shirley Abraham and Amit Madheshiya

Scenes from a Dry City (12 min.)

Simon Wood and François Verster

The Trial (15 min.)

Johanna Hamilton

Crooked Lines (11 min.)

Monica Berra, Yoruba Richen and Jacqueline Olive

Nuuca (12 min.)

Michelle Latimer

44 Messages from Catalonia (18 min.)

Anna Giralt Gris and Ross Domoney

CamperForce (16 min.)

Brett Story and Jessica Bruder

Graven Image (10 min.)

Sierra Pettengill

Our 100 Days 7/7

American Carnage (9 min.)

Farihah Zaman and Jeff Reichert

The Town I Live In (10 min.)

Matt Wolf and Guadalupe Rosales

Captured in Sudan (28 min.)

Phil Cox, Daoud Hari and Giovanna Stopponi

Timberline (12 min.)

Elaine McMillion Sheldon

Duterte’s Hell (8 min.)

Aaron Goodman and Luis Liwanag

Conditioned Response (6 min.)

Craig Atkinson and Laura Hartrick

Our 100 Days 4/7

Here I’ll Stay (10 min.)

Lorena Manríquez and Marlene McCurtis

Our 100 Days 3/7

An Uncertain Future (11 min.)

Chelsea Hernandez and Iliana Sosa

Our 100 Days 1/7

An Act of Worship (9 min.)

Sofian Khan and Nausheen Dadabhoy

The Moderators (20 min.)

Adrian Chen and Ciaran Cassidy

Clowns (7 min.)

Alex Kliment, Dana O'Keefe and Mike Tucker

Project X (10 min.)

Laura Poitras and Henrik Moltke

Hopewell (3 min.)

Lorena Manríquez

The Vote (12 min.)

Mila Aung-Thwin and Van Royko

Like (9 min.)

Garrett Bradley

Concerned Student 1950 (32 min.)

Adam Dietrich, Varun Bajaj and Kellan Marvin

Peace in the Valley (15 min.)

Michael Palmieri and Donal Mosher

Homeland is not a Series (7 min.)

Arabian Street Artists Heba Y. Amin, Caram Kapp and Don Karl aka Stone

#ThisIsACoup 4/4

Surrender or Die (16 min.)

Theopi Skarlatos and Paul Mason

Eric & “Anna” (14 min.)

Kelly Duane de la Vega and Katie Galloway

Birdie (14 min.)

Heloisa Passos

The Above (8 min.)

Kirsten Johnson