Short form filmmaking is nothing new for Elizabeth Lo. In just the past three years, the Los Angeles-based director has amassed five documentary shorts, including the widely seen and celebrated Hotel 22. That 8-minute film played at numerous festivals around the world, aired as a New York Times Op-Doc, and won the 2016 Cinema Eye Award for Outstanding Achievement in Nonfiction Short Filmmaking. As exemplified by Hotel 22, which brings the viewer onto a San Francisco night bus that functions as a de facto shelter for people living on the streets, her work to date has focused on people and communities at the margins of society.

In one sense, that focus made her a good fit for The Disclosure President, her new Field of Vision film centering on Stephen Bassett, the lone U.S. lobbyist advocating around matters pertaining to Extra Terrestrials, UFOs, and related government secrets. But in another sense, as Lo discusses in the following interview, this film was a departure. Whereas her previous work approached subjects ethnographically, and with a deliberate and evocative formal rigor, here she found herself honing in on, and adapting her aesthetics to, a single and singularly complex character. Though Stephen has spent 30 years unsuccessfully fighting for the lifting of what he calls "The Truth Embargo" of government information on E.T.s, Lo's film shows how there might actually be progress under a Hillary Clinton presidency. She talked about treading into all of these uncharted territories in this candid conversation.

Let’s start with the really obvious question: How did you come across Steven? Is this something that you read about? Did you meet him? Where did it start for you?

Lo: So Field of Vision actually contacted me and told me about Steven. They had come across him in a Washington Post article where he was described as sort of like the only lobbyist on the Hill fighting for the ET issue. I read about him and I was kind of drawn to it because it seemed so different than the subject matter of my other films—disenfranchised communities, marginalized groups. But Steven’s form of marginalization was pretty foreign to me. And I knew that the kind of topic the UFO story would be, I wouldn’t be able to observational in my mode of filmmaking. That was an interesting challenge for me.

Did you have a sense of “why me” for this? Or was it more: “this is different, I like it?”

Lo: I did have a sense of “why me.” It feels kind of different. But then there was this…I started doing researching and thought about UFOs as an interesting cinematic challenge, you know, how to represent them visually, if at all. And then I went to this conference as a scout, the Alien Cosmic Expo which was in Canada, and he was going to be there. So I went there, the first day he didn’t show up because he lives out of his car, well he lives at home with supporters who house him…he doesn’t have permanent housing anywhere. I guess his car had broken into the day before his flight, and his passport was stolen….all of these things that I guess were indicative of what had happened to him from being part of this issue. I guess I’m not sure of the cause/effect of his life choices. But then he showed up…first I had a phone conversation with him, and he was very verbose and talked a lot and was very maniacal. Just had this energy about him that I thought was really interesting. Anyone with passion can be a good subject. When I met him, he was actually much kinder than my impression of him on the phone.

Was it just that he was so excited on the phone? That he went into a sort of messianic place?

Lo: Yes, he definitely had that. And so much anger. He was able to talk about in a way that was, about how the truth embargo, which was the governments supposed policy in the 1940s to contain the truth about UFOs through ridicule. He talked about it as if that was responsible for everything that’s going on in the world today. Like in terms of the Middle East, Syria…that the separation between military intelligence and the president over the UFO is what’s caused the rift within government that has enabled these wars. Him being able to extrapolate these huge societal issues that are real from this thing, Roswell and other incidents, that don’t have widely accepted evidence behind them. That compelled me. That he had a real social and political drive behind what he was doing. IT wasn’t just a fascination with aliens. He wanted to save the world and this is how he believed he could cure all the ills of the world by getting the government to reveal secret about its ET contacts. That spirit is what made me think he might be worth pursuing.

How did you navigate you interest in that passion, that engagement with your degree of belief you have in the truthfulness of what he was saying?

Lo: When I first got the call from FoV to look into him, I started to read about UFO people and books written by seemingly credible sources like Harvard professor John E. Mac called abduction. This was the book that changed Steven Bassett’s life. There were all these accounts of people—-contactees they’re called—when I started reading these books, the message in the book was beautiful one. These are people who have experienced things and are constantly ridiculed because of outer forces that discredit what they’re saying. But from this one profressor’s research, it seemed that all these contactees experiences some sort of benevolent aliens. Or aliens that had a mission to save humanity from themselves. All of these UFOs people that I was reading seemed to come from a very activist place. They saw all these political ills, and they tied them…they determined maybe aliens would come save us. There’s a kind of desperation in it. But it also was reflective of things that are happening now. The introductions of the books are very eloquently written, but then as I got further into their specific stories, I didn’t find it all that believable. At least to me I couldn’t get behind it. Then I read another book by Lesley Keen [sp] called UFOs something something and hers is a very conservative book in that it doesn’t extrapolate what seeing a UFO means. It just says there are these unidentified flying objects in the sky and all of these experts have looked into it and not many people on society know this, but 5% of these sightings cannot be explained away. And I thought, “how can we not know that 5% of UFOs don’t have any logical explanation?” But then in my head I’m really skeptical of the drawings and things that were popping up. But as this whole movement has been characterized by ridicule, and because UFO enthusiasts are so sensitive to that including Stephen, even though as I got to know this issue more in my own way, I was becoming more and more distanced from it. I still felt as a filmmaker I had an obligation to not create a piece that was taking it down. That felt wrong to me on a larger level because so much has been made ridiculing this community. In the edit it was this balance between trying to hold my own prejudices at beat because who I am to say, I have not been influenced by all the cultural factors that would lead me to not take this subject as seriously as these people do. I think it would be a more interesting viewing experience to have moments of doubt within themselves and have them wonder…are the Clintons really involved in this? Why would John Podesta, the Campaign Chairman for Hilary Clinton be talking about this issue. And question their own beliefs a little bit. Even though personally I am very skeptical.

This fascinates me when you’re honoring a point of view about which you have skepticism. And how you honor that without promoting it. You didn’t have a lot of time to manage that.

Lo: I had been making lots of cuts and showing them to friends before I turned one in to Field of Vision and in my footage I had material that showed Stephen’s character flaws. That seemed to convey that this all was about creating a legacy for himself and not about saving the world. I put together cuts that made it seem like more of a character study of someone who is flawed and fighting for somebody, but the sense was that it was undercutting him too much. So I ended up with a cut that took out all of those moments and that was the first cut I showed to FoV, where the point of view was pretty strasightfoeward and it didn’t play with any humor and it didn’t reveal any of the cracks in my experience with him. And FoV came back and said it made him seem too credible which must have been my overcompensation. The next cuts were about balancing that and how much to inject of these moments of folly.

It makes sense that this would be a productive way to go about it. Err one way, err in the other direction and then find a party in the middle.

Lo: At the same time, there are these very rare moment where I wonder if there is something bending this. What if you put out a piece that falls on the wrong side of history. These are rare moments, but that thought did occur to me. As a filmmaker you want to stay open, I think. And not shut down especially when you have the trust of whoever you’re working with. Extend him the same benefit I would extend another fringe community.

You’re dealing with point of view. The film doesn’t have to adopt that point of view, but you can still represent that. And it seems like that what this film is doing. There is a sense of…you can get deeper into a point of view than an entirely removed skeptical approach.

Lo: That’s a great way of distinguishing between adopting POV and representing it. A lot of my approach is quite averse to character-based filmmaking, maybe just because I’m not used to it or I was a little bit afraid of hanging whole films on a single person. So this was a challenge because the film was about him. Part of my reservation, especially with a short was: how do you cram in someone’s whole life story or POV in ten minutes. You’re going to muck it up somehow. Trying to make this piece at least represent some of what drives Steven and what his past and what he looks forward to, trying to squeeze that all into a short was a kind of uncomfortable process for me. But I do feel like the film as it is right now does convey just enough of how much personal life is important to the short and weaving in archivel or other issues like the presidency and politics and woven that in with his personal quirks and balance that. I don’t think his personal details would sustain a larger project.

Would you make another film about a character?

Lo: Sometimes I wonder if it’s…people have strengths and weaknesses…casting is a talent and I feel more comfortable or I feel lime my strengths are places and not necessarily telling people’s stories, but glimpsing into a physical reality more and not necessarily working with the past in explicit ways that this does. I tend to try and pick topics that are more actives. And I do have this self doubt that I can cast characters well. And I think that’s probably a shortcoming as a filmmaker and I probably should keep pursuing it even if it makes me uncomfortable. This was a really good dip into this category of filmmaking. I feel most natural when it’s…I think what also makes me feel uncomfortable when you do character-based filmmaking because your relationship becomes more intimate that navigation as a filmmaker with a person you’ve developed a bond wit, balancing your loyalty to that individual versus your loyalty to the story that you want to ell or the the reality of there world as you see it. I think that’s very hard. I think I pick topics that don’t necessarily engage that tension as much. I don’t know if that’s for better or for worse. But obviously, that’s what always challenging about this piece. I know Stephen. I have a relationship with him. Trying to balance that with the film’s objectivity out subjectivity. But if you’re not working with a single character, your loyalty’s just to the film itself. And that can be very freeing but I also see I should push myself in the other direction.

I want to talk about your approach stylistically. I’m curious about how you decided to shoot this. How this was going to look? What did you think about starting off? What there a strategy visually?

Lo: It kind of just happened organically because it was my first sort of character piece, I went to the conference and met Stephan and started following him around. I guess this another thing about working with main characters: I guess you should be able to collaborate with them more in terms of setting up shots, which is something I’m very averse to, but I had to learn this balance, when you’re following them around everywhere my camera had less control than previously where characters didn’t matter, it was just a space and my camera could just stay in place and I had control. In this situation, he had more control than the camera. In terms of his work as a lobbyist, too, a lot of his work is online, and he’s just at home, and that wasn’t necessarily stuff he wanted to reveal. Audit’s not a physical thing…all of this speculation…you can’t put a camera on to record. Even his activities as a lobbyist had happened in the past and maybe would happen in the future. There’s some states about this topic or at least his involvement . So I had to find things for him to do. And that was really challenging for me. A lot of it was sort of following him around. And because he has a very clear idea of how things should be portrayed, and also he’s extrmelet talkative that shaped the style of the film. I was just kind of reacting to him rather trying to impose style.

I imagine you’re doing a fair amount of shooting for the editing, too. Because you’re finding of way to represent things and thinking about shooting things you might need later on.

Lo: Initially I thought I might create animations to go over the live action footage because the stuff weren’t things you could film. As I was editing, animation felt like it wouldn’t necessarily match and that it might undercut it a little bit.

How are you feeling about this going out into the world in terms of your relationship with Steven?

EL: I feel like the film does strike a pretty good balance between portraying him fairly and portraying his viewpoints with how he sees the Clintons being involved and those views I am sure that he’ll have some issue with it but probably because it oversimplifies things or presents some details about his life he wouldn’t want out there. I don’t know how he’ll respond, but I hope he’ll respond positively. I don’t think the film falls into a ridiculing category in terms of its treatment of the UFO issue. Which I think he’ll feel is a positive step in terms of the media.

It sounds like you’ll have a conversation about it that’ll maybe be an extension of some other conversations you’ve had with him to date.

EL: Definitely. (...) One thing I wanted to say is how this film relates to the observational mode of filmmaking which relies less on verbal exposition. Relying so much on the audio, instead of letting the images speak for themselves was a challenge.

I think you do some nice work when you’re shooting him in the car and you’re wandering and finding other things to show that are pretty important. Like the hangers in the back of the car. What he’s saying will be important, but you’re still capturing things that are meaningful.

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.

KEY DATES:

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

APPLY:

Submissions are now closed.

Please direct any questions regarding this application to ifthenshorts@fieldofvision.org

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

April

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.

May

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.


Criteria

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: As of March 23rd, 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. From Monday, March 16, the Field of Vision team will 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 have allocated time every weekday until Friday, May 1st (we may extend depending on the situation) to have video meetings and calls. We’ll be prioritising 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.

HOW TO SIGN UP

Meetings

If you would like to have a virtual meeting about any of the above, please follow this link to book a time: https://bit.ly/waitlist-fov-virtual-consult

(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:  fieldofvision.org/submit

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

Shorts

America (29 min.)

Garrett Bradley

I, Too, Am American (8 min.)

Catherine Cahn, Ishmael Raoof, Alandra Williams, Cierra Brown and Kayla Andrus

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

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