During the height of the pandemic, I participated in SXSW virtually, which meant watching films online from my living room couch, which didn’t invite the same emotions I felt at festivals in person. Thankfully, I was able to go to Austin for the first time this March, and I hit the ground running. It was an experience full of remarkable films, brilliant filmmakers, delicious barbeque, and confident networking.
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Responding to the “permacrisis”—a 2022 “word of the year” meaning “an extended period of instability and insecurity” and the title for one of the talks at this year’s CPH:DOX film festival and conference in Copenhagen—was a prevailing theme at this season’s March event.
Over the past week, IDA collected tributes to Judith "Judy" Heumann from those who knew her and were influenced, advised, or galvanized by her
Last year, after a string of short-term contracts at a screen institute, short film festivals, and a national public broadcaster, I began a concentrated search for stable employment. Over the course of several months, I met with friends and colleagues who recounted their experiences at cultural institutions in Toronto and beyond, searching for job opportunities at organizations that provided at minimum a living wage, a work-life balance, and emotional fulfillment. Instead, I encountered stories about poor management, few opportunities for growth, long hours with low pay, and practices that were questionable at best. Certain organizations offered better benefits, working groups, or prestige, but it soon became evident that every workplace was plagued with the same baseline issues.
Nowhere is the commercialization of the nonfiction field seemingly more apparent than at the Sundance Film Festival. With entertaining documentaries
During my 15 years in prison, numerous filmmakers and media professionals entered the facilities where I was housed with the intention of telling the
Have you ever had an experience that was so powerful it knocked you out of your body? And even as the event was still unfolding, the objective
The end of El Gran Movimiento, the hybrid second film by Bolivian director Kiro Russo, consists, quite literally, of all that came before. In a rapid
In Ben Klein and Violet Columbus’ 2022 Sundance-premiering documentary, The Exiles, the filmmakers follow filmmaker Christine Choy as she reconnects
BY Tom White & Bedatri D. Choudhury