Filmmaker and journalist Theopi Skarlatos came to her reporting on the Greek economic crisis from a unique angle — as both an insider and outsider. Though Greek by heritage, she grew up in the United Kingdom, only visiting her father’s home country for vacations and short stays. So when stories surrounding the country’s debilitating austerity measures started bringing her back, Skarlatos was spending more time in Greece than ever before — and just as society seemed to be falling apart at the seams.

In the following interview, conducted during the final stages of editing her four-part series for Field of Vision, #ThisIsACoup, Skarlatos talks about the origins of her partnership with Paul Mason, who produced and narrated the films. (A separate interview with Mason, now economics editor for England’s Channel 4 News, will accompany the third episode of the series.)

Skarlatos also discusses what it was like to document the rise of Syriza, and how episodic storytelling worked to reflect the cycles of elation and disappointment that defined the Greek public’s response to the turbulent political landscape.

Let’s first talk about your relationship with Greece. How much time had you spent there prior to these recent years of reporting?

Skarlatos: I’m half Greek — my father is Greek. We would go there twice or more a year. Then three or four years ago, after the movement in the squares in 2011, I started going back. And actually that’s when I met Paul Mason — in the middle of a riot. I was collecting information for a radio piece I was working on, and he was working for BBC TV. I introduced myself and we stayed in touch, and then went on to do a couple of different short films for BBC Newsnight on the refugee issues in Greece, and then we covered the Cyprus financial crisis together. So that is how it all started.

And then I came up with the idea of making a film that I couldn’t stop thinking about, which was Love in the Time of Crisis. Paul deals primarily in the economic situation, whereas I don’t — I’m a freelance journalist and I cover things very broadly, so I was more drawn to the human element of the crisis and how it was ruining relationships, both in terms of romantic relationships and friendships. Paul executive produced, and off the back of that film came this film.

How did your partnership with Paul take shape for the making of this series?

Skarlatos: Now he has a full-time job for Channel 4, which means he couldn’t be there 24/7. Whereas because I’m freelance, I could be. He’d been given a little bit of funding by the unions [in Greece] to do a short 15-minute film based on the election and this new radical left-wing party that was about to come to power. I agreed to do it and spent three weeks filming during the run-up to the elections.

On the night [Syriza] won the election, we were in this random bar behind all of the celebrations, and we were in total shock. It was the first left-wing party to take power since I don’t know when. We just sat there and thought, “We can’t let this go, we have to continue filming, and we have to tell the story of what happens.”

Since you were responding spontaneously to events, rather than making a film you’d been planning and budgeting for a while, how did you make it work?

Skarlatos:: Well, we didn’t have funding in the beginning. We kind of put the word out that we might be doing this. We spoke to the mainstream media, but they were a bit funny about the fact that the amazing footage and access we had at the beginning had been funded by the union, so they didn’t want to go near it. So then we thought, fuck it, we’ll just raise the money ourselves crowd-funding. We raised more than 40,000 pounds and that got us started.

Was the new government amenable in terms of access?

Skarlatos: By this point I’d made a lot of contacts because I shot the short film during the run-up to the election. I’d been shoulder to shoulder with these people, especially the young Syriza crowd, these campaigners who were trying to spread the word about the party and how it could really change things for the better. These people were totally accessible, and that was their whole ideology — these people are just like you and me. But there is also a huge element of trust, and that is something I had built up over an entire year. By the end of it I was not one of them, but they were used to me being around.

In certain movements, journalists can be seen as a kind of enemy. But it seems there was generally an interest in having you around.

Skarlatos: The media was extremely important to the government. Stories were being told left, right, and center, and nobody knew if they were true or false. Things were not only being leaked from the government side, but there was stuff being told to the press on purpose by the creditors side as well. So there was this weird battle going on about the stories being told to the press, and the inner debates and negotiations that were going on in Brussels. So the media was hugely important in that process.

Was there ever any pushback because you were coming from outside of the country — that you may have been Greek, but you were basically an English filmmaker?

Skarlatos: There were times when I knew I was not one of them, because these are people who have been part of this political party since they were very, very young — 14, 15 years of age. That crowd did feel quite cliquey at times, and I knew I could never fit in 100 percent, but that wasn’t what I wanted. All I was looking for was access. It did help that one of the girls I follow in this documentary was in my last documentary. We’d already formed that trust, and once people saw I was one of hers, or as soon as people saw she trusted me, it was a domino effect.

What form did you conceive of this project taking? Did you discuss it in terms of a short, or a feature, or a series? Or were you just filming, assuming you could figure form out later?

Skarlatos: I had no idea what was going to happen, absolutely no idea. But we knew that we wanted to cover it from two levels, and one of those was political. So we wanted to have access to key ministers, especially those who were taking part in negotiations. Every single day we were trying to get access, and you can imagine these ministers at the height of negotiations and there’s me banging on and saying, “Please can I get in, please can I get in!”

But the most important thing was to tell the story of the real people on the ground. So we didn’t really know [what form it would take], but we knew that we had to have cameras on everything, to be ready to deploy, with riots breaking out all the time.

In the end, the episodic structure makes a lot of sense. The events themselves have all these little climaxes, these self-contained stories that build toward a larger one.

Skarlatos: There was this crazy period at the beginning, where everyone was just shocked by this party that essentially said no to everything you’ve imposed on our country for the past five years — “We’re here to do something different, we’re here to actually negotiate” — which is something none of the other governments even tried to do. So that essentially was the first part.

Then there was a short period of calm, and in that period came the Greek spring, which gave people the opportunity to make their voices heard and really support their government, which was something that I have never seen my entire life. And then slowly as the money and time were running out, we came into this next period when they realized that in Europe the creditors do not necessarily want to help the situation.

There was all this tension and it is kind of episodic — at the beginning was this really emotional period, and toward the end nobody could sleep. Even in the thick of things, no one knew what would happen next. You’d wake up in the morning and it would be totally different from the night before.

Were you filming daily, throughout all of this?

Skarlatos: Yeah, pretty much every day or every other day throughout January. Though less so at the beginning because it took a while to get the funding. We found an amazing Greek team who were out there also trying to film what they could for historical reasons. They were my eyes and ears when I couldn’t be there. Paul would be over a lot to cover things with Channel 4 News, and then a few times he came out specifically for the documentary.

It must have been hard to stop filming. Are you tempted to go back and add to the narrative, add episodes?

Skarlatos: There was this moment where I just felt that I would be OK to put the cameras down. And that was the night of the referendum, which was this huge amazing democratic moment when the people who had never been asked before about anything came out to the streets, 62 percent to say, “No, we don’t want another deal. It’s not going to work, it has not brought anything good, the young people in this country don’t even have jobs, we need something different.”

It was this huge moment for me, almost like this release of breath, of air — it’s come to an end, it’s finished. Then they refused to listen to it, and I thought, well that’s it, that’s the end of the story. Of course the government kind of folded, and they had a new election, but I really didn’t want to go back and film. I felt really strongly that the film ended there.

But we did go back to film the end of the circle, which was: they won an election, they tried to do something, they didn’t, the government folded so they went into another election, and they won again — and that’s the end of the circle.

There are really four circles within that larger circle you described, which seems like a accurate way of representing the reality you encountered, rather than a single story arc. You could spend all this time looking for an end point, but often those end points are actually beginning points. Something about the episodic structure allows you to reflect that.

Skarlatos: And it’s so complicated as well. There’s all these things in each cut that that the average person watching might not get, and that’s when me and Paul come together and we’re like, we need to get this down in the most simplistic way so everyone can understand about what happened.

Did you edit the pieces before Paul added a voiceover, or did his text inform how things were constructed?

Skarlatos: In each part there was a different story to tell. Paul and I go through what factually happened, and [discuss] how we can illustrate those things through our characters or politicians. Because everything is chronological, we can put down what happened and compare with our notes and do a kind of tick list.

Like, this character gets this across, and this character says, “You know that in Greece you get paid 500 euros a month, but in Northern Europe that’s a totally different matter,” which is a really important point to make. And so Paul doesn’t need to say that, or the titles don’t need to say it, because our characters do. It’s finding the bits that aren’t in there and how we get [the information] across in a way that doesn’t stand out or feel weird or interrupt the flow of the film.

Did you always plan to turn this around quickly? Because a standard feature documentary might take six months or longer to edit, whereas you’re just a few months out from the events you captured.

Skarlatos: We’re working every single day, every single hour in order to get this up sooner rather than later, because we don’t want people to forget what happened. I think that it is a good period right now ahead of the Spanish elections to remind people of what happened in Greece, to remind people about democracy. And to remind people of the challenges the Greek people still face.

#ThisIsACoup, Episode I: “Angela, Suck Our Balls” #ThisIsACoup, Episode II: To Pay or Not to Pay? #ThisIsACoup, Episode III: Oxi — The Greek Word for “No” #ThisIsACoup, Episode IV: Surrender or Die


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

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

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

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

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

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

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

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

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

About the Fellows:

Garrett Bradley

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

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

Lyric Cabral

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

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

Michelle Latimer

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

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

Charlie Lyne

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

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

About the Artist-in-Residence:

Josh Begley

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

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


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

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

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

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

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

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

When we watch American football, what are we seeing?

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

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

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

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

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


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

A NIGHT AT THE GARDEN (Dir. Marshall Curry)

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

From Field of Vision Co-Founders:

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

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

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

Kansas City


San Francisco


Austin Lakeline

Austin Mueller

Austin Ritz

Austin Slaughter

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

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

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


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

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

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

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

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

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

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

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

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

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

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

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

See Goodman and Liwanag’s film here:

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


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

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

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

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

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

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



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


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


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

MEDIA CONTACT After Bruce PR Tracy Nguyen-Chung 503-701-2115


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Crooked Lines (11 min.)

Monica Berra, Yoruba Richen and Jacqueline Olive

Nuuca (12 min.)

Michelle Latimer

More to Watch

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