Wavelength Productions, the 90% female-helmed production company whose credits include the 2019 Sundance titles Knock the House Down, Where’s My Roy Cohn and Selah and the Spades, announced today the WAVE grant “dedicated to supporting women of color in telling their own ‘great f**king story.’” The grant, which is accompanied by 40 hours of professional mentorship by the Wavelength team, will award $5,000 to a first-time female filmmaker of color to support her very first documentary or narrative film, which should run between six and 20 minutes. “At Wavelength Productions, we know that women have the power to not just […]

Flies Collective, the Brooklyn-based production company and micro-budget funding body led by principals Daniel Patrick Carbone, Matthew Petock and Zach Shedd, announced today the four films that will receive a total of nearly $20,000 in fiscal support via the group’s annual film grant. The films are Sarah Friedland’s Familiar Touch, Max Walker-Silverman’s Chuj Boys of Summer, Brittany Shyne’s Seeds, and Sophia Feuer’s Space Lady. Said the Flies Collective team in a joint statement, “The whole idea behind the grant was that we wanted to offer no-strings-attached support to projects that don’t typically fall within the parameters of traditional grants. This […]

The Sundance Institute today announced the 25 nonfiction films that will receive Documentary Fund and Stories of Change grants. The grants span all the way from initial project development to audience building, and the list includes custom grants from The Kendeda Fund, which supports projects dealing with environmental themes as well as gun violence. Stories of Change grants, a creative partnership with The Skoll Foundation, support social entrepreneurs and independent storytellers. Reports the Sundance Institute, “the supported projects come from Canada, Chile, China, Estonia, Hungary, Iran, Israel, Kenya, Mexico, Poland, South Africa and the United States. 21 projects, or 84%, […]

As a film journo who usually prefers celebrating the fruits of cinematic labor over covering the messy business of making the product I’m often a bit squeamish when it comes to observing pitch sessions (in no small part due to the glaring abundance of older white faces dangling the purse strings). Fortunately, the folks behind the two-decade-old Hot Docs Forum, which utilizes the appropriately Harry Potter-esque, neo-Gothic Hart House student center at the University of Toronto, do an expert job of combining industry necessity with collegial fun. This is perhaps best evidenced by the Forum’s Cuban Hat Award, a prize […]

Lookbooks are an increasingly vital part of the filmmaking process. A good lookbook can make a pitch, just as a bad one can dissuade an investor, producer or financier from a project. Yet the creation of lookbooks is rarely discussed. The topic is missing from the many labs and tutorial programs set up to help first-time filmmakers—even though a good lookbook is perhaps the quickest way for a project to stand out. Simply put, refined visual knowledge and the skillful conveying of that knowledge is power for a director. When we interviewed Reed Morano last year about her work on […]

In the world of documentary film, where projects gestate and then are produced over the course of years, and with funding often raised in stages from a variety of different sources, the determination of producer credits can turn into something like the Wild West. There are usually one or more producers who are actually producing the film, and they are supported by a bevy of archival producers, field producers, etc. But what about all the executive producers, co-producers, presenters, etc. — how did they become involved in a film, and what do their credits mean? The question is more than […]