With Notes from the Border, Iva Radivojevic revisits the thematic concerns of her recent feature, Evaporating Borders, which was an intimate account of migrants living in Cyprus — the island to which Radivojevic moved when she was a young girl fleeing the war in Yugoslavia. Her new film also returns the director to the elliptical short form that she has extensively explored on her website, Iva Asks, which helped make her one of Filmmaker Magazine’s 25 New Faces of Independent Film in 2013. The day before her new film premiered at the New York Film Festival, I met with New York-based Radivojevic to talk about the making of Notes from the Border.

Did the Field of Vision team come to you and say — we know the work you’ve been doing, we like what you did with Evaporating Borders, and we’d like you to pursue this story?

Radivojevic: Right — we know what you’ve been doing … No, what happened was, they knew of my work, they liked the work — Laura actually executive produced my last film — but they approached me with something entirely different. It was about militarization of the police in the U.S. But while I was researching that the laws changed, something fell through, and it was no longer seeming like a good direction to go into. Meanwhile I was following the story about the migrants, the refugees, which back then was only a small story. And I said, here’s an interesting thing that’s happening on this Greek island of Kos, and they really liked it. But I was actually a bit skeptical about doing the same kind of story.

Because your feature is largely about this topic. Radivojevic: Which was about the island of Cyprus — so a different country. And it was Palestinian refugees, not Syrian refugees. But the same topic, basically.

Let’s step back briefly to talk about your relationship to this region. What brought you to Cyprus in the first place?

Radivojevic: I grew up in Cyprus. Once the war in Yugoslavia started, my mom, my sister and I left and went to Cyprus. I’ve been living here in New York for a long time, but I visit my family a lot, and each time I went back I realized there was a new wave of migrant refugees coming. And the attitudes towards them are different than they were towards us when we arrived. There was a rise of xenophobia, racism, attacks, all kinds of stuff. So I thought, this is something we need to talk about, and that’s how that project came about. Because I grew up there I knew it very well. I speak the language, and thought I could talk about it through an immigrant lens because I was an immigrant.

Which then leads to this new film, and a situation that you’re able to recognize as related to the one you recently filmed. Except this was happening right now, it was unfolding right before your eyes.

Radivojevic: It was this summer. Things were happening so fast that literally week by week the situation was getting progressively worse and worse. So I would film in one location, leave, and then a week later there would be some kind of riot there. It was incredible, the speed at which things were changing, and the speed at which the numbers of refugees were increasing. So the initial story was oh, here’s this island that’s dealing with a huge number of refugees coming in. There’s this makeshift, burned-down hotel where nobody was taking care of the refugees, where they had no food or anything. So this was something to look at. And when I got there it was that, but it was so many more things. And it was all just getting piled up. The island of Kos was getting hundreds of refugees a day, and it was getting progressively worse. Then people started dying, and that’s when people started paying attention. Initially I was going to make this small story about the hotel, but it grew into a story about multiple borders.

You felt that the hotel wasn’t enough, that you needed to move around and chase the story as it developed?

Radivojevic: My initial thought was to take a personal, poetic approach to it, which my other films also take. But then we switched gears a little bit.

To my eyes there’s so much poetry to the film you made, both in your shots and your construction of those shots. So what do you mean in terms of switching gears? Being clear about certain information and the setting?

Radivojevic: Yeah. It’s tricky when you do something that’s happening right now, at this moment. What do we want to convey? What’s important? We want to give you the information, but we want to also give you this way to connect, and potentially go a little deeper than the dissemination of information. That was a challenge.

So how did that result in the film you made?

Radivojevic: It was a collaborative effort. We had to think through it all together. I was working with really great people, whose opinions and collaboration I really appreciate. It was a first time for me, because usually when you’re making your own film, you’re making your own film. Whereas in this context you’re working with other people, and you have to come up with something that works for everybody. It was interesting and challenging at the same time. You kind of have to feel it out — how does that feel, how does this feel, and how is it still mine?

And that was in the construction of it?

Radivojevic: The editing.

Which, considering how recently you were overseas, I imagine you started on the ground?

Radivojevic: I would send the rough cuts. And then we’d go over it. And I suggested that I should go to the borders. Then I would send another rough cut, and we’d talk about it more.

You’d never worked like this before, where it’s unfolding as you’re shooting and you’re working with a production team back home?

Radivojevic: No.

What was it like being more of a reporter than you normally think of yourself as being?

Radivojevic: Even when I’ve dealt with political issues in my films, I don’t like to take an advocacy or even journalistic approach, so that was a challenge. I was doing something that was very present — I’m reporting on it, I’m being a journalist, but at the same time how do I say it in a voice that’s my voice, that’s true to my vision, that’s how I wish to express things?

Were there things that you were avoiding because of those concerns?

Radivojevic: It’s less of a conscious thing than a feeling thing. At some point I really got sick of putting the camera in people’s faces. I tried to pick up the camera and I would feel disgusted with myself and I couldn’t do it. So I decided early on that I would not have interviews — which is something I don’t really like anyway. It was very much an instinctual thing. I was trying to be more present with the people I was meeting, to feel the experience rather than let me document what’s happening.

So when would you pick up the camera? What would you shoot?

Radivojevic: I would film situations. But I wouldn’t impose on people. If they wanted to talk to me they’d talk to me. I spent two weeks with a group of people, 12 people. And we did everything together. We went to play pool, we went out to eat, we went to the beach, we went to a club. I thought how can my presence — because it’s my choice to be there, it’s not their choice to be there — how can my presence be helpful to you? How can I make our crossing of paths truly beneficial? I just decided that I wanted to experience what they’re experiencing. Of course I can’t really, because I’m coming from a different place. But I can at least have an understanding, which can somehow translate into the film. Not in the sense that I’m documenting it, but that I’m feeling it.

While there, in the moment, are you constantly thinking about how to convey that? And about how will it look on screen?

Radivojevic: I do because I also edit. When I’m filming something immediately I’m editing — probably like you, as you interview me. That idea might change five times but I want to be covered, at least in one or two ways. If I was doing an observational piece or if I was doing a voiceover piece, I want to be covered. Then after that comes the collaborative process, because it is a commissioned piece, it’s not solely my decision. There’s something they’re searching for that they want to talk about, and so there’s a balance that needs to be reached in terms of what they want to serve and what I want to serve.

As an editor, was it challenging to turn this around so quickly?

Radivojevic: Yeah, but a few years ago I started this blog, and this was when I first started making films. And I made myself make a short film a week. This was like an exercise. So I became so good and fast at editing things, and turning things over quickly. So I told Laura, listen, that’s not a problem. That’s the easiest part of this whole thing for me.

Talking to Laura, AJ and Charlotte about the Field of Vision project, they like the idea of setting up challenges for filmmakers. If working quickly wasn’t too challenging for you, what was?

Radivojevic: The biggest challenge was that the story was getting out of control. I couldn’t be everywhere at the same time. I couldn’t chase each sensational thing that happened. And that’s not really what I want to talk about anyway. So the challenge was how do I present this when it’s all in the news, when everyone knows about it. How do I make it relevant, and at the same time speak to something larger than that this was happening. I was really struggling with this. So there was this idea to make it a diary. And I think that works, because I can say — this is from a specific section of the summer, this is where it starts, this is how it progressed, and this is what I found on my way.

I like how it allows for your perspective as well is your subject N’s perspective without those perspectives being in conflict or incompatible. It formally allows for both stories. And throughout, you also open cracks into other perspectives as well. The fact that Kos is a vacation spot, that people are on vacation while this is happening around them, it’s a fact and a POV that stands alongside these others. Radivojevic: It’s so surreal. You have these two realities. I found myself in the same dilemma — you know, I want to go for a swim. You don’t know how to deal with it. I was in the refugee camps for two or three weeks, and it was hard for me — I can’t even imagine how hard it is for the people actually going through this and living there. Then to throw myself back into this other thing? It’s disturbing to me. You go through a range of emotions — shock, then acceptance, then “how do I help?” And then, “I can’t do anything.” Then after I left it became 15 times worse. The whole city became a tent city. At first we’d be on this beach at 4 or 5 o’clock in the morning, waiting for the boats to arrive. It was us, the smugglers, some fishermen waiting for the boat so that they could take the engine and sell it — you know, Greece is in crisis too. Then two weeks later you don’t have to go to the beach at 4 in the morning. They were just coming. Every time of the day. That’s how fast things were moving.

What was it like in the refugee camp?

Radivojevic: The camp had no water, no electricity. And the food was only coming from the volunteers, who’d find food from restaurants and bring it. There’s no way to talk about it, really.

Even though you were supposed to pursue a different story entirely for Field of Vision, and though you’ve got other, very different projects that you’re pursuing, do you feel drawn back to this topic?

Radivojevic: I do, but not in a bad sense. I had an incredible experience this summer and met some incredible people. And it was a humbling experience. Yet I think it’s time to move on now, after this. No more films with the word “border” in it. But truly this, for me, was a life-changing thing.

Correction: September 30, 2015 An earlier version of this interview incorrectly stated that during Radivojevic’s visit to the Greek island of Kos this past summer, 4,000 refugees were arriving daily. The interview has been updated to reflect that hundreds of refugees were arriving daily.


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

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

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

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

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

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

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

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

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

About the Fellows:

Garrett Bradley

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

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

Lyric Cabral

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

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

Michelle Latimer

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

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

Charlie Lyne

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

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

About the Artist-in-Residence:

Josh Begley

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

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


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

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

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

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

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

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

When we watch American football, what are we seeing?

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

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

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

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

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


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

A NIGHT AT THE GARDEN (Dir. Marshall Curry)

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

From Field of Vision Co-Founders:

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

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

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

Kansas City








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 tracy@afterbruce.com 503-701-2115


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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

More to Watch

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