The Bay Area filmmaking team of Katie Galloway and Kelly Duane de la Vega hasn’t exactly parachuted into the zone of conflict between government surveillance and civil rights. It’s a topic they’ve been addressing, in one form or another, for nearly 20 years. Add in the remarkable fact that they’re both children of civil rights lawyers — their fathers were actually colleagues — and you’ve got filmmakers who are deeply immersed in this thorny terrain. Their last feature film, Better This World, told the story of two radicalized Texas friends who became the target of a domestic terrorism sting at the 2008 Republican National Convention. For Eric & “Anna,” they collaborated with The Intercept contributor Trevor Aaronson on a longform article to complement their film. All three talked to Field Notes about the challenges and benefits of crafting a narrative largely (and in the case of the film, entirely) from surveillance material, and of reporting a story for which crucial factual details have only recently been made available — details that call into question the American government’s motives and methods.

Did you originally come together because of a shared interest in these issues — the intersection of surveillance and activism?

Kelly Duane de la Vega: Katie and I met at Berkeley High. We were family acquaintances. Then we both lived in New York on different occasions, both worked as documentary filmmakers, then both moved back to our hometowns and reconnected. Katie had read a New York Times clipping about a couple of activists that got arrested, and there was an entrapment allegation, and we were immediately interested. Within weeks of reconnecting it became our first project. That was in 2009. We’ve been making short to long form documentaries together ever since.

Katie Galloway:: Our fathers worked together as civil rights lawyers, but we didn’t find this out until we worked together. So there’s this history of growing up in the Bay Area in the ’70s and the Black Panthers and SNCC [Student Nonviolent Coordinating Committee], which are our cultural roots. My first film on informants was in the mid-’90s, about the use of government informants in the drug war.

Duane de la Vega: I was in the process of working on a piece about John Walker Lindh and was very interested in activism and what is taking it too far, and what happens once you get caught up in the legal system. That film project didn’t end up going forward, but I had a really long-standing interest in that intersection between the government and activism. And then when we made Better This World, it got a lot deeper.

Were you hesitant at all to take on another project in this topic area?

Galloway: For this story, the defense team and the people involved came to us after Better This World because [the stories] were so similar. But we said we couldn’t make this film for a number of reasons, one being that someone else was working on it, but also because we were interested in moving on to other subjects. But it stuck with us. I knew Laura [Poitras] from a long time ago, and we had gone back and forth about the Eric and Anna story for years. So when Eric was released [from prison] I emailed her and said, “Are you interested in doing something on this now?”

Considering how long you’ve been making films in this area, how have you evolved as both journalists and filmmakers over that stretch of time? And would you say those have evolved in tandem, or does one tend to fuel the other?

Duane de la Vega: I think we’re both the kinds of people who are constantly reading newspapers and nonfiction and watching what’s happening. So much has changed [in filmmaking] and we both continued to educate ourselves along those lines and worked on our craft. So in some ways they evolved in tandem and as we’ve grown together as partners.

Galloway: I was raised really in the journalistic model, and did a lot of Frontline [episodes], and so for my subsequent films I’ve been reaching to break free — well not free, but away from a more standard model, towards finding my voice. And I would say Kelly is largely responsible for helping me get there. All of [these films] have been made with no narration, and different storytelling styles that make it much more difficult actually to tell the story. But Kelly and I feel pretty clear that the storytelling we like to do is close to the bone, character-driven narratives with a backdrop that’s huge, that’s at least national but where you can find a very personal way in.

You cover a considerable amount of ground in such a short span of time with this film. My sense of and feelings about both Anna and Eric clearly evolve, and I’m also given a strong larger picture of what it means in terms of justice and government overreach. And yet it’s all communicated through surveillance footage. Was it difficult to manage all of that in just 15 minutes?

Duane de la Vega: It was really difficult because there are layers and layers, and so many options, and the story’s really complicated. But we thought there was power in the surveillance footage in and of itself. That so much of the narrative could evolve from just providing a little window into what was going on. So we tried to pick themes that were representative of the overall picture, and that would allow people to spend time with the characters and get a rhythm of their speech and let them develop, and by doing so paint a portrait of what was going on.

Galloway: When making Better This World we knew that we wanted to make surveillance a character, but we didn’t know quite how it would move and effect people. And so it was quite a natural evolution [on this project] to go, “Why don’t we make it all surveillance?” Leave everything else behind and let the surveillance more or less speak for itself.

I would imagine the editing process for dealing exclusively with surveillance footage was quite different — you’re constructing a story based on what that footage did or didn’t show, on what is or isn’t visible or audible.

Duane de la Vega: Usually it’s a case of trying a lot of different options before you find the right one. That’s the hard part. But once you figure out how you’re going to proceed the stories start to work on their own, and that’s how you know you’re on to something. Beyond that there’s a lot of pre-post — there’s digging, there’s typing up the transcripts, thinking how each will visually play against each other. It was originally developed for Frontline as an hour [-long film], so we had a lot of great stuff pulled. It has to be said of Mike Nicholson, who’s our third producer and graphics editor — we would not be here without him. We would talk with him about ideas and then he would send us back something beautiful.

I like the combination of high and low fi to the film. Graphically, you’ve got typed text and handwritten script, meanwhile you’ve got high-tech surveillance that nevertheless captures pretty cruddy footage. There’s something metaphorically meaningful to that.

Galloway: There’s a quality to these young kids — I mean they’re not kids, she’s a teenager and he’s in his early 20s — there’s kind of a casual, slapdash quality to the whole thing. The scribbled notes, the ellipses and dashes and starting in the middle of things. Here are these young, kind of spacey, not very threatening young people that get presented post-9/11 as someone to fear, as domestic terrorists. And then there’s the style of the FBI’s investigation, where the Ts were not crossed and the Is were not dotted.

You mentioned that Eric & “Anna” was originally intended for Frontline at a longer length. Could you talk about how you adjusted to the shorter length, and what was lost and what might be gained from the adjustment?

Duane de la Vega: Katie and I have produced quite a bit of short format work over the years. We love long format, and we love short format. There’s something really accessible about a short format piece that people can watch at home and on their computer. Obviously with a long format piece there’s a lot of things that would’ve gone into it, probably contemporary interviews and more reenactments. But short form is an incredibly important medium for what we do — it allows us to tell more stories to a wider audience, and not have to crank out a film every three years.

Galloway: You aren’t expected to have all the answers in short form. It sort of unburdens you from this idea that everybody has to have a full picture of everything when they’re done — with the Frontline hour, for example. There are very different standards by which it’s judged. And it’s also lovely to be in conversations with other work.

And with this film you’ve been in direct conversation with Trevor Aaronson’s reporting, which is launching alongside the film for Field of Vision.

Galloway: We worked with Trevor back at the investigative reporting program at Berkeley, where Kelly and I were filmmakers in residence. He wrote a book on post-9/11 domestic security apparatus, taking a broader view.

Trevor Aaronson: I was in the group of fellows that came a year after Katie at UC Berkeley. Katie was still working with the program when she was finishing Better This World, and my focus at that time was on the FBI’s use of informants, specifically the use of informants in stings in Muslim communities post 9/11. Katie was orbiting around the same planet, so to speak, in the sense that she was focusing on the use of informants among left wing political activists. The tactics that the FBI uses are similar in the targeting of both Muslims and left-wing activists. The use of stings, the use of informants.

Galloway: So when we decided to do this story we called Trevor and brought him in to do some of the documents research while we were working on the film — to find out what happened with the government burying, losing or not having these documents. He wrote a first draft and sent it to us, and we were able to add details or flesh things out, and we’ve basically been passing the draft back and forth.

How did you conceive of this written piece as working alongside the film?

Aaronson: Our hope was to try to complement the two as best as possible. I tried to keep a lot of information in the story that would take readers kind of beyond what was in the film. But this was a project that had already been off the ground before I came in. The incredible work that Katie and her team were able to do, getting access to all this video and audio footage that hadn’t been made public before. It gave me the opportunity to work from these videos and tell that narrative. At the same time what I try to do in my story, which is something that can’t be as easily done in a visual work, was to leverage the documents as much as possible. Most of my work is really working with court documents and public records to put together a larger narrative, to give a context to the video, and also explain how it is that a man goes to prison for ten years and finds out that there were 2,500 pages of evidence not provided at his trial. So in some ways there is overlap and there’s no way that there couldn’t be overlap with a written story and a visual story on the same thing. Our hope was that for people who watch the film but also read the story that there won’t be a lot of redundancy, that the visuals and the conversations that Katie used would reveal new things to the person who had read my story and vice versa.

When I talked to Glenn Greenwald a couple weeks ago about the piece that he did with Heloisa Passos, he talked about how film can accomplish certain things more efficiently than writing can normally accomplish, and it challenged him to think of how to use the written piece differently in light of that.

Aaronson: In my story I make the case, I think, that Anna was flirtatious and she was leading Eric on. Now you can describe that in a written story, but when you look at Katie and Kelly’s film, there’s that scene, that visual, of her in the car reaching over and touching him on the leg. And that says so quickly what took me like 1,500 words to explain in the story. There was no way I could compete with that very visceral scene where she does that. So my goal was to say hey, let’s try to tell the whole story of how Anna got in that car. Like this idea that she was just a community college student, even though there’s still this perception that FBI informants are these highly trained people who go undercover. When in truth this was a 17-year-old community college student who the FBI recruited to be an informant.

You’re able to go a bit deeper into Eric and Anna’s stories than the short film can.

Aaronson: I think also it provides an opportunity for armchair psychology on Anna. The wanting to impress the community college professor, then later she has this strange relationship with Ricardo Torres, her FBI handler. A young woman’s desire to impress the older man in a position of authority. You can see how that creates a situation where Anna is potentially manipulated and manipulating the situation. I felt what I could contribute was this fuller picture, fleshing out the biography in a way. If you wanted a fuller picture of what happened, it really lends itself well to a longform written piece.

Both pieces, the film and the written feature, speak to the importance of having information. There’s a difference between piecing a story together in an investigative sense, and repopulating a story after years of its details being intentionally blocked.

Aaronson: Right. Unlike other stories that I’ve worked on where the entire story is new and you’re breaking all sorts of new information, this was a story that, since McDavid’s arrest in 2006, had been substantially reported. I think what we were able to do was take the new information, and take what was out there already, and put together a story that is as definitive as possible. There are also a lot of questions that still exist about why this evidence went missing. The government hasn’t come clean, and even the judge, as I mention in the story, has not taken the opportunity to force the government to explain its actions. Basically, the government got away with saying, “We can’t really explain how this happened.” Given that this is a man who spent 10 years of his life in prison, it’s kind of incredible that the government is now saying, “Oops, dog ate our homework,” you know? As I quote Ben Rosenfeld in saying, that’s kind of the opposite of accountability. Eric did stupid things — I don’t think anyone would deny that. But he wasn’t the domestic terrorist the government portrayed him to be.

That’s an incredibly damning line, that this is “the opposite of accountability.” There are still questions, but the nature of the questions have changed. So instead of “what happened?” — we now know what happened — we’re left with the more unsettling question of “why did this happen?” and “why wasn’t this citizen given a fair trial?”

Aaronson: Right — up until recently, it had always just been claims. You know, Eric McDavid claims that Anna led him on and that’s why he did what he did. And even in the prosecution’s closing arguments, they scoff at that and say there’s no proof, there’s only this one letter that we can find. Well, it turns out there were many letters and we now have those letters, and those letters show very clearly that Eric was being led on by Anna. And from the recordings that Katie and Kelly got, it’s clear that McDavid was not the leader of the plot the way the government claimed he was. These are no longer claims — these are things that are facts based on the records that we have. Now the question is, why was this evidence hidden, why couldn’t the government produce it, and why won’t the government explain what orders it gave Anna? Did the government take a 17, 18-year-old girl, and specifically order her to manipulate a 27-year-old through a promise of a sexual relationship in order to make a counterterrorism case? Because that’s the kind of stuff you’d expect on a sleazy Cinemax show. But in reality we hear, “We can’t provide an explanation for how this happened, all we know was this was in the FBI file the whole time.” And I think that’s incredible. The sad thing is I’m not confident we’ll ever get the answers to why that happened.

Field of Vision is partnering with Lawyers for Reporters to launch a free legal clinic for freelancers working in documentary in the United States. This program will provide legal information about specific topics and possible referrals to pro bono legal counsel.

Lawyers for Reporters is a joint project of the Cyrus R. Vance Center for International Justice and First Look Media’s Press Freedom Defense Fund that provides pro bono legal assistance to local journalists and media organizations.

Our volunteer lawyers can provide people working as freelancers in the documentary film community in the U.S. with information about the following subjects:

  • Newsgathering rights and potential legal exposure from newsgathering (but we cannot advocate on your behalf regarding Freedom of Information (FOI) requests).
  • Legal risks of publishing content, such as defamation, invasion of privacy, and copyright infringement
  • Licenses, releases, and other content- and distribution-related contracts, but excluding film financing and other complex agreements
  • Risk assessment for filmmaking and security issues

If you are interested in receiving information and a possible referral to pro bono counsel, please fill out the intake form below. After your request is received, a member of our team will let you know whether an information session with our volunteer lawyers can be scheduled.

Intake Form Here.

Please note:

  • This program can only provide information, not legal advice.
  • Completing an intake form does not automatically qualify you for an information session.
  • Submitting an intake form and discussing a matter with a volunteer lawyer does not create an attorney-client relationship that would protect confidential information from disclosure in a legal proceeding.
  • A referral to pro bono counsel is not guaranteed even after a consultation.
Image from The Trial by Johanna Hamilton.

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.

This list has been compiled as a guide to help documentary filmmakers in response to the coronavirus (COVID-19) pandemic and its impact on the filmmaking community.

We’re going to keep adding to this document as we find any more support available to the community.

We’re also hoping to provide more initiatives and services ourselves, and you’ll be able to find all of those as we add them on this page.

This guide is separated into the following sections:

  • Field of Vision Resources
  • General Data and Preparation
  • Industry Work Information
  • Relief Funds for Filmmakers & Small Business
  • Current Project Funding
  • COVID-19 Financial Help: Resource Lists and Guides
  • Industry COVID-19 News
  • Festival Status & Updates
  • Other Resources

This is a living document and will be updated as more information becomes available.

We'd like to acknowledge and thank the organizations who have made their own compilations of resources available to the community, including: Creative Capital, Brown Girls Doc Mafia, Washington Filmworks, Coronavirus Resource Kit, Collective Care By State, Dear Producer Blog, and Independent Cinema Office.

If you know of any other support available to filmmakers, please email saeedah@fieldofvision.org with information.

Field of Vision Resources

Mentorship & Consultation Service

Our virtual "office hours" service is available for filmmakers, and offers consultation on a variety of areas. We’re 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.

We have booked up our first 200 allocated meetings, but are running a waitlist and hope to open up more slots asap. The waitlist is here.

Documentary Freelancer Relief Fund

A $250,000 fund to provide grants for freelancers working in the Documentary field. The fund distributes 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.

The fund is open to freelancers working. worldwide

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

Information about the fund can be found here.

Field of Vision Project Funding

Field of Vision provides funding for both Short, Feature-length and Episodic projects at all stages of development, production and post-production. We have no deadlines and commission and fund on a rolling basis. We are looking for a strong artistic vision and approach and films that tell the stories of our world from new perspectives.

To see our criteria please visit our submissions guidelines here

Shorts

https://fieldofvision.org/submit-short

Features & Episodic

https://fieldofvision.org/submit-feature

General Data and Preparation

As the COVID-19 outbreak continues, it is important to stay up to date with information related to public health and civic engagement. Below are sources for general information and statistics about the outbreak:

COVID-19 Data Pack from Information is Beautiful

Symptoms and Statistics

Emergency Kit- Al Jazeera

Legal rights in a quarantine

Industry Work Information

The nature of our industry makes work stoppage and social distancing difficult. Below are resources for filmmakers who have to travel, work on location, or work from home for the first time:

The Economic Impact of Coronavirus Survey

Travel and On Set Information

How to travel during the international coronavirus outbreak

On Set Tips: From Washington’s Film Worker (bottom of page)

Film and TV Charity Covid-19 Advice

Working from Home

Work from home securely

These are the internet providers offering free Wi-Fi during coronavirus

Avid free 90-day licenses

FREE Temporary Licenses and More to Help You Work from Home

How to Disinfect Camera Equipment and Spaces

Series of webinars for the suddenly remote workforce

Other Industry Resources

What You Should Know About Online Tools During the COVID-19 Crisis

Pro Bono PR Services for Films with Festival Cancellations

Ways to Help Artists and Creatives During the COVID-19 Outbreak

Ideas for responding to COVID-19 in the Film Industry

Cash Flow for Filmmakers Webinar

Please note: Specific filming restrictions can vary from state to state, country to country, and so on. You should check with your local film office regarding filming on location at this time.

Relief Funds for Filmmakers and Small Business

Below are new funds set up specifically to relieve filmmakers during this time:

Artist Relief - This fund will distribute $5,000 grants to artists facing dire financial emergencies due to COVID-19. It was designed by Americans for the Arts to better identify and address the needs of artists.

BFI and the Film and TV Charity’s Covid-19 Film and TV Emergency Relief Fund - BFI and Film and TV Charity have partnered to create a new industry-backed Covid-19 Film and TV Emergency Relief Fund to help support the creative community in the UK.

Covid-19 Freelance Artist Resource - A list specifically designed to serve all types of freelance artists and those interested in supporting the independent artist community during this time

COVID-19 WOC Artists Relief Fund - This fund is specifically for women of color working artists or creatives that have been directly impacted financially in light of COVID-19.

Disability Arts New Commissions - Disability Arts Online is a UK-based small organisation, committed to supporting their community during this time they’ve allocated £8,000 to new commissions for artists with disabilities.

Facebook Small Business Grants Program - Facebook is providing assistance in cash grants and ad credits.

Freelancers Relief Fund - Freelancers Relief Fund will provide financial assistance of up to $1,000 to freelancers who are experiencing sudden hardship as a result of the COVID-19 pandemic, whether as a result of illness, lost work, or caregiving responsibilities.

Global Open Call for Art - Amplifier has created an open call for work that focuses on public health, flattening the curve, and mental health during this global crisis. The organization will award $1,000 apiece to 50 artists, with new winning works announced each week, starting the first week of April.

NYFA Emergency Grants - Resources for arts and cultural organizations based here in New York and elsewhere.

PEN Writers’ Emergency Fund - PEN America will distribute grants of $500 to $1,000 based on applications that demonstrate an inability to meet an acute financial need, especially one resulting from the impact of the COVID-19 outbreak.

Rauschenberg Emergency Grants Program - Expected to be rolled out in late May or early June the grant will provide visual artists, media artists, and choreographers up to $5,000 worth of assistance for medical emergencies.

Relief Fund for Hollywood Support Staff - The entertainment organizations #PayUpHollywood, Scriptnotes Podcast and YEA! have teamed up to create the Hollywood Support Staff COVID-19 Relief Fund, aimed to assist LA-based support staffers affected by the COVID-19 shutdowns.

SAG-AFTRA Disaster Relief - Financial help to SAG-AFTRA members who have been impacted by this pandemic

Current Project Funding

Compiled Lists of Project Funding

American Documentary’s Filmmaker Resources - An extensive list of US and international funding sources

Doc Society Resource List - These links and documents are designed to connect you to the organisations you need to know to get your doc funded and make it all happen.

The EDN DOCalendar - The EDN DOCalendar provides an overview of what's happening in the international documentary industry.

International Documentary Association - Fiscal Sponsorship & Grants - A searchable database of available grants and fellowships

Upcoming Funding Deadlines

Here are a few upcoming deadlines for key funding opportunities. Please note that this is not an exhaustive list, but we’ll be adding to it over time

April

SFFILM Documentary Film Fund

The SFFILM Documentary Film Fund (DFF) supports engaging documentaries in post-production which exhibit compelling stories, intriguing characters and an innovative visual approach.

Deadline: April 30th, 2020

Stage: Late Production and Post-Production

Gucci Tribeca Documentary Fund

Provides funds to feature-length documentaries which highlight and humanize issues of social importance from around the world.

Deadline: April 30th, 2020

Stage: Production or Post-Production

May

Rogovy/Miller Packan Doc Fund

Supports Docs that address social issues that inspire others.

Stage: Advanced Development, Production or Post-Production

William Greaves Fund

Firelight’s William Greaves Fund is a research and development grant that supports nonfiction filmmakers of color based in the United States, Mexico, Puerto Rico, Colombia, and Brazil.

Stage: Development

June

IDA/Pare Lorentz

2020 funding focus is on criminal justice.

Stage: Early Production

Sundance Doc Fund

The Sundance Institute Documentary Fund provides grants to filmmakers worldwide for feature-length projects that display artful and innovative film language and techniques, rigorous research, originality, project feasibility, contemporary cultural relevance, and the potential to reach and connect with its intended audience.

Stage: Development, Production & Post-Production

July

ITVS Open Call

The documentary can be on any subject, viewpoint or style as long as it is in active production already, as evidenced via a ten to fifteen-minute work in progress sample. *not a grant, co-production agreement.

Deadline: July and then re-opens again in Feb 2021.

Stage: Production

NYC Women’s Fund for Media, Music and Theater

NYC Women’s Fund provides grants to encourage and support the creation of digital, film, music, television, and live theatre content that reflects the voices and perspectives of all who identify as women.

Deadline:*Opens Summer 2020/check site for updates.

Stage: Post-Production/Finishing Funds

September

ITVS Diversity Development Fund

The Fund looks to support exceptional stories by filmmakers from diverse backgrounds: stories that take creative risks, inspire dialogue, and are rarely seen on public media.

Stage: Development

Puffin Foundation

The Puffin Foundation has sought to open the doors of artistic expression by providing grants to artists and art organizations who are often excluded from mainstream opportunities due to their race, gender, or social philosophy.

Stage: Any

October

Tribeca Film Institute Doc Fund

The TFI fund sponsors documentaries that spotlight contemporary themes with unique, creative filmmaking.

Deadline: Opens in the fall.

Stage: Any stage of development or production

Fledgling Film Fund

Most recently interested in climate change, but social justice/impact is at the core of the fund.

Deadline: Re-opens in the Fall. *check site for updates

Stage: Typically Post

Rolling Deadlines

Perspective Fund

Perspective provides grant support to independently produced documentary films that highlight social justice and human rights issues, that align with our priority areas.

Stage: Any stage of development or production

Catapult Film Fund

Catapult is not tied to any specific social issue agenda. We support and encourage filmmakers to tell a full range of stories on film in whatever form fits the film and artist.

Stage: Development

Cinereach Feature Film Fund

Cinereach awards grants ranging from $5,000 to $50,000 to support any stage of feature film production

Stage: Any stage of development or production.

COVID-19 Financial Help: Resource Lists and Guides

Creative Capital List - Creative capital aggregated list of resources for artists working in all disciplines, as well as arts philanthropists, and arts professionals.

Disaster Unemployment Assistance - The US Department of Labor’s Disaster Unemployment Assistance (DUA) program provides temporary benefits to people who, due to a major disaster, lost or had their employment or self-employment interrupted.

Emergency Funds for Freelancers - A list of mutual aid funds that distribute emergency grants to artists, creative professionals and freelancers facing financial hardships

Firelight SBA Loan Consultation - With the support of the Perspective Fund, Firelight Media is offering 30 minute one-on-one consultations for filmmakers of color who are applying for US Coronavirus Federal Relief.

IFP Resources for Filmmakers - Independent Filmmaker Project has curated a list of resource pages and opportunities we’ve found particularly useful and inspiring in these uncertain times.

ITVS: Applying for Federal Coronavirus Relief as a Filmmaker - Firelight Media, IDA, and ITVS are hosting a series of hour-long webinars to learn the basics of applying for the various SBA programs.

National Endowment for the Arts: COVID-19 Resources for Artists and Arts Organizations - A list of organizations that are currently providing frequently updated news and resources for artists and arts organizations.

New York State: Resources for New York State Arts and Cultural Organizations - The New York State Council on the Arts is compiling and daily updating resources to support New York State's artists and arts organizations, including emergency funds, small business support, learning opportunities, management support, and discipline-specific resources.

NYC Assistance & Guidance for Businesses Impacted Due to Novel Coronavirus - Applications for the NYC Business Continuity Loan Fund may be paused for now, but there are other resources here for businesses operating in the five boroughs.

Southern Documentary Fund: Resources for Southern Filmmakers - A list of the websites, emergency funds and resource listings for Covid-19 response to artists and freelancers from the twelve Southern states that SDF serves

Small Business Guidance and Loan Resources - The US Small Business Administration’s (SBA) page for coronavirus funding options, CDC guidance for businesses and employers, and more.

Women Arts Media Coalition - A glossary and links to many resources, brought to you by the Women in the Arts & Media Coalition with the assistance WomenArts

Women Make Movies: Regional Resources - Many organizations are providing resources and support on the local level. Check out WWM’s list of regional resources to see if your local arts organization can help.

Remote Work Sites, Opportunities, Resources

Remote Work Opportunities

Remote Film Jobs Bechance

Fiverr

Upwork

Creative Commissions

Industry COVID-19 News

Break COVID-19 Industry Cancellations

Privilege and Pandemic: How COVID-19 Reveals the Documentary Sustainability Crisis

Most SXSW Shorts Are Streaming Free Thanks to Oscilloscope and Mailchimp

A Way of Life in Peril

Select Film Festivals and Indie Movies Figure Out Online Access

Alamo Drafthouse relief fund for furloughed staff members

Festival Status & Updates

Below you’ll find links to the latest festival news. Many festivals are still scheduled for the fall; we've included submission dates for several below. We’ve also included links to updates from festivals that have been cancelled and postponed. Please feel free to send updates to help our community stay informed.

And please check out our Google calendar for upcoming festival deadlines: https://bit.ly/3bnJnaQ

Festivals: Upcoming Deadlines

Toronto International Film Festival

Regular Deadline - May 29

Final Deadline - June 12

AFI Festival

Late Deadline - June 5

Open City Documentary Film Festival

Regular Deadline - April 24

Late Deadline - May 8

Camden International Film Festival

Regular Deadline - April 27

Late Deadline - May 26

Extended Deadline - June 29

DOC NYC

Late Deadline - May 1

Extended Deadline - July 1

IDFA

Early Deadline - May 1

Late Deadline - August 1

New Orleans Film Festival

Late Deadline - May 8

Extended Deadline - June 19

Jihlava

Late Deadline - May 31, 2020

Extended Deadline - July 31, 2020

DOK Leipzig

Deadline - July 7

List of Festivals that have been affected by the pandemic:

Cancelled

Full Frame

Ebertfest

Sun Valley Film Festival

TCM Classic Film Festival

International Film Festival and Forum on Human Rights

European media arts festival

The Miami Film Festival

San Diego Latino Film Festival

Ashland Independent Film Festival

Watsonville Film Festival

Indie Grits

Provincetown International Film Festival

International Uranium Film Festival (Almeria)

BFI Flare: London LGBTIQ+ Film Festival

San Francisco International Film Festival

BAMcinemaFest

Cleveland International Film Festival

Ebertfest

SXSW

Garden State Film Festival

SIFF

Sydney Film Festival

BFI Flare: London LGBT Film Festival

SFFILM

Riverrun International Film

Fargo Film Festival

Columbus Documentary Week

Martha’s Vineyard Film Festival

Sun Valley Film Festival

Online Only

Thin Line

CPH:DOX

Garden State Film Festival

Films on Art Festival (FIFA) Montreal

Movies that Matter film festival

DC Environmental

Hot Docs

Vilnius IFF

Visions du Reel

Environmental Film Festival (Washington, D.C.)

Cinema du Reel

NewportFILM

Greenwich International

AIFF

Postponed

Canadian Film Fest

New Directors New Films

Montclair Film Festival

Tribeca Film Festival

Indian Film Festival of Los Angeles

Beverly Hills Film Festival

Prague International Film Festival

Bentonville Film Festival

Red Sea International Film Festival

Thessaloniki Documentary Festival

Blackbird Film Festival

Cinequest

Dox on the Fox

Oxford Film Festival

Havana Film Festival New York

Cannes Film Festival

Sarasota Film Festival

Edinburgh Film Festival

Sonoma International Film Festival

International Uranium Film Festival (Rio)

Newport Beach Film Festival

Doc10 Film Festival

American Black Film Festival

Sofia Film Festival (Bulgaria)

Red Sea Film Festival (Saudi Arabia)

Seattle Jewish Film Festival

St Patrick's Film Festival London

Calgary Underground Film

QDoc Film Fest

Otff

AKS International Minorities

Kashish Mumbai Queer Film Festival

Northwestfest

Denver Women + Film

Cinema St. Louis Qfest

CAAMFest

Atlanta Film Festival

Salem Film Festival

Philadelphia Environmental Film Festival

Princeton Environmental Film Festival

Millennium Docs Against

ZagrebDox

Sebastopol Documentary

ACT Human Rights Film

IFF Boston

Maine Jewish Film Festival

OutShine Miami LGBT Film

Other Resources

Watch free IDFA movies

Tired of Netflix? Stream Experimental Films and Video Art

Sundance Collab Master Classes

Netflix Party

Ten Free Ebooks from Haymarket Books

Free Quarantine Ebooks

New Day Resources for Educators

Home Grown Home-Based Child Care (HBCC) Emergency Funds

COVID-19 COLLECTIVE DREAM JOURNAL

Women Make Movies Virtual Film Festival

2500 Museums Online/HYPERALLERGIC

CABIN FEVER BGDM: COVID-19 FREE STUFF TO WATCH

Mononoaware Film Care Package

Shorts

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#ThisIsACoup 4/4

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