More than two years have passed, but September 26, 2014, is a day that is still very present for many Mexicans. As explicated in Emily Pederson’s They Took Them, the latest film from Field of Vision, that’s the day when 43 students of the Ayotzinapa Rural Teachers’ College were “disappeared” amid conflicts with authorities at a mass demonstration in Iguala, Guerrero. Families and friends of these students have found all investigations into and explanations for these disappearances inadequate at best, and remain vigilant in seeking justice.

Pederson had been living in southern Mexico at the time of the incident, and immediately embarked on a multi-platform photography project to document what was happening. She followed citizens as they began to organize, collectivize, and protest. Yet as she tells Field Notes in the below interview, conducted by phone in New York, recent setbacks into this fight for justice gave rise to her working in a new medium. With They Took Them, her debut film, Pederson captures scenarios and especially conversations that might have eluded her still camera, and navigates new challenges in terms of factoring for time, bringing a more obtrusive apparatus into intimate settings and exchanging depth of information for depth of emotion.

What brought you to Mexico?

Pederson: It grew out of some interests I’d had in college. I studied the history of Latin America during the Cold War, the uprisings and dictatorships that happened in those years. The Zapatistas, a guerrilla rebellion from 1994, happened right at the tail end of all that. They were kind of the last big push for change in Latin America—the last major earthquake in Mexico’s history. After my college studies, I moved there to work on a long-term photo documentary project about the Zapatista rebellion.

How did your project develop over the years you were living in Mexico? What was your method and approach?

Pederson: I was just exploring that theme through photography. And I was doing a bit of oral history too. In the first two years, I was getting to know the country. It was a process of becoming connected with the people’s history. At first I was an outsider—and I still am—but it definitely does a lot when you are sitting at the table with people for two years before you tackle a project. In that first chapter, the photography was about exploring what had changed since this rebellion and what the fallout was twenty years later. So I would go to different towns and record conversations with various people who were involved. And that added another dimension to the photographs. It complicated things, made it less about the surface. With different perspectives you see all these doorways into this reality. The Zapatista uprising and what happened afterwards is a very complicated and tangled issue.

At what point in your time in Mexico did the disappearances happen?

Pederson: I had been living there for about two years—I was in Chiapas. And by that time I was very close with some families. I saw families crying when the news came out and it echoed through the whole society. The conversations at the dinner table spilled out onto the streets through marching. You could feel in this moment that it was something that would be remembered and was going to change things. A major motivation [for my work] was just documenting the collective memory of that. People felt it was the latest state crime in a country where there have been so many state crimes. [On signs] at the marches, people would put this date and this name on the end of really long lists of massacres. There’s a profound discontent in Mexico because of the terrible violence of the drug war, but also because of these much older grievances and much deeper structural issues. There are a lot of class issues, with a political class that is very much completely corrupt and disconnected from the people. This became the focal point for all of that energy. Teachers had been disappeared and killed in the 1980s and I had friends in Chiapas who were teachers, and these students [who’d disappeared] were teachers in training. There’s this entire history of struggle and discontent.

What was your strategy for making that history legible in your film? How do you show that this is part of a continuum and not an isolated incident?

Pederson: That was the huge challenge in making it. Especially in the very short timeframe—we filmed it in ten days. I’d created a photo zine about it that was the product of a whole year’s work, so the major concern was would we be able to achieve that same continuity? There’s so much that you can say, so many facets. Part of the approach was [being deliberate about] which questions to ask. In the film we bring in a woman talking about the role of these student teachers and why she thinks the government disappeared them. We have some comments from another character relating it to wider issues in Mexico about how people are being killed in all sorts of ways.

Since you’d never made one before, why did you decide to shoot a film? What did it afford you that still photography didn’t?

Pederson: I’d been covering it as a photographer for so long that I wondered what another picture of a march could do. What can another picture of the absence [of the disappeared] really do at this point? Especially when it had become clear that the Mexican government was pushing out these experts who were looking into the case. I had witnessed so many situations in which a photograph couldn’t do it justice. Interactions with the police, for example. Things the family members say [in those situations] were just so powerful. I used to record audio when I was photographing, but that’s also limited. It’s not the same as a film. There’s something about seeing a scene unfold.

Were you using different equipment than when you’re taking photos?

Pederson: Oh yes. I was using a Nikon F from 1969 for the photography project. And when I came back for the film with a DP, he and I had similar cameras—digital with a big lens on it.

So how did these people who’d grown accustomed to your small still camera adjust to a film shoot? How big was your crew?

Pederson: That whole process—who to bring?—was a challenge. I’d always been on my own and had these intimate personal relationships that I didn’t want to mess with, so I can’t show up with four people. I thought that with just one extra person it would be easier to achieve the same intimacy. He would film and I would have conversations. Which was really helpful, actually. If I’d been alone, they wouldn’t have been looking at me, they would have been looking at a camera. It was almost like it was just the two of us talking, me and the person being filmed.

When you were just taking photos, it was more sporadic? You could have conversations and only occasionally disrupt it with a picture?

Pederson: It was primarily a relationship—just photos here and there. I was sensitive to when not to take a picture. With the film, they were curious about what I was doing with this equipment and this new person, and if he could be trusted. The very fact of pointing a video camera at them turned them into spokespeople, and I just wanted them to be themselves. That was worrisome at the beginning, but then once we went to peoples’ homes we were able to work past that facade and they became more natural.

Was it strange for you not to be the one capturing the images?

Pederson: Oh yeah. I actually was the B camera on the shoot, but not during the intimate scenes. It was interesting. There was a moment when you just kind of let go.

But as a director, you’re definitely still controlling for the parameters of the shoot. Aesthetically speaking, what did film offer compared to photography?

Pederson: You have to make decisions on the fly in both, but I definitely felt that more as a filmmaker. You’re trying to create a narrative in a different way. It has to be cohesive somehow, so it becomes a lot about placing yourself. What kind of situations are we going to put ourselves in? As a director you’re trying to put yourself in the best position to document what unfolds. I think that was the most interesting aesthetic difference—just being able to watch tensions build. There’s something about moving images that can be so evocative.

It adds an element of time.

Pederson: Exactly. You can give people a sense of space and time in a different way.

Since you’d spent so much time working in other forms, did you feel that anything was lost working in film?

Pederson: Some of what’s lost is the historical context. Perhaps over a longer film you can delve into that more. But you have to accept that you don’t necessarily have to say everything about a certain issue. What it opened up for me was telling a story in a very emotional way. And bringing people into this specific moment in time, where they can watch the unfolding of this difficult and dangerous moment for these families, in which these outside eyes are being pushed out. You’re present with them and can get the impact of what this means that the investigation is being shut down.

You’re also bringing us to a moment that happened quite recently—what you shot is from just six months ago.

Pederson: Yeah, it’s April of this year. A lot of people have stopped following it. The film is a way to drop people back in. And there are still so many people who care about it. I just hope that it keeps this push for accountability alive and keeps eyes on it. For the families there’s a real sense that if the world abandons them, they’re in grave danger.

Meaning they’re physically in danger if eyes are diverted from this issue?

Pederson: They’re not giving up and the government has grown more and more impatient with that. Actually just recently two students from the school the [disappeared people] attended were killed. It looked like a robbery but there were also conflicting accounts. There’s a real sense of danger.

Within the larger context of recent Mexican history and politics, is there any precedent for accountability? Or is it about keeping an international lens onto this?

Pederson: The families keep pushing forward the legal international mechanisms that are in place. It’s a case that hopefully can continue to be investigated and the truth can eventually come out. But it’s very difficult because a lot of the evidence was lost in the crucial first period. Inadequate investigation and lack of due diligence played into a cover up as well. There’s a sense that these [incidents originate] from higher up than the government usually acknowledges. If you look back at the history of these cases, the president at the time was not held accountable. There are fall people in cases like this. If you look at Guatemala, for example, they put their ex-president in prison. That was a case in the region where people were able to set the course for a better future. There are a lot of crimes in Mexico right now that are extremely grave. This isn’t even the largest-scale case, while smaller ones are happening all the time. Here they were caught red-handed, and that’s why it became a focal point. Some day, hopefully a day of reckoning will come.

What’s your plan going forward for your larger project?

Pederson: The photography project I was working on is to be continued over years to come. I want to have [subjects] write around the photographs and bring their voices in. Making sure the pictures and the film are available to them is very important to me.

Do you think you’ll make more films?

Pederson: I’m really not sure. I think it depends on what happens in this case. Maybe there will be another development where a short form film would be appropriate. This case is not over. The parents will tell you that. Ever since I got there and was moved to stay there I’ve had conversations where they’ll say, “If the government thinks they can make fun of us like this, and that it’s over, they could not be more wrong.”

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.


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


Submissions are now closed.

Please direct any questions regarding this application to

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.

The final round of funding is now closed.

For this final round of funding, we will continue prioritizing providing support to filmmakers of color and filmmakers from other marginalized communities that have been disproportionately impacted by the COVID-19 pandemic.

Field of Vision and Topic Studios have created a $250,000 fund to provide grants for freelancers working in the Documentary field. The fund will distribute 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

Dates and Deadlines


The fund will be open for applications from Wed April 8th from 9am ET until Friday April 10th at 6pm ET or until we reach 1,000 applications. You can find the link to the application at the bottom of this page.


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

Notification of grant approval will be within 20 days of the fund closing, and payments will be processed within 30 days of notification of a grant. June The fund will be open for a final round of applications from June 10th from 9am ET until June 12th at 6pm ET or until we reach 500 applications.


Be able to demonstrate work as a freelancer within the documentary field in roles such as:

- Directors - Producers (This includes Associate Producers) - DPs - Editors - Sound Recordists/Designers - Researchers - Assistants - Critics & Writers who have covered documentaries - Publicists

Other freelance roles will be accepted if they meet the rest of the criteria

Provide a link (examples - IMDB page, Film Review, Direct link to project) that shows professional work in the field.

The fund is eligible for artists internationally, however you must be able to receive funding electronically (we are not able to issue checks), and priority will be given to countries and regions of which there isn’t government freelance assistance that you are eligible for. If you have not been eligible for government assistance, please state that in your application.

Students who are currently enrolled are not eligible.

People who are currently in employment are not eligible.

Please note: We have made every effort to reduce the amount of information, paperwork and requirements for funding and have tried to make the fund as open and accessible as possible. We are largely operating on a trust-based system and really urge you to work with us on being able to maintain this. It’s extremely important to us to be able to get funding to the freelancers that need it the most. Please answer all questions thoroughly and accurately so that we can ensure the funds are allocated to help as many people in need as possible.

Information Needed:

- Demonstrated professional work within the field - Usual income source - Description of situation - Maximum amount requested - Minimum amount requested - What the funding would be used for - Location

Please note: It’s important to include a maximum and minimum amount requested. Also, please note that grants may be taxable as income under the law that applies to you. We will issue Form 1099s for grants of more than $600.

The Process

As always, it is important to us that filmmakers lead how we operate and respond, and so the process will begin with a blind review of applications by a panel of filmmakers and producers, with a simultaneous review by the Field of Vision and Topic Studios teams. Those recommendations will then provide the recommended list for funding, which will then be reviewed once more before contacting the fund recipients.

We will only be contacting those who have been allocated funding.

On receipt of the grant acceptance please expect up to 30 days to receive payment. In order to issue the grants we will need a W-9 or W8-BEN tax form and an invoice which includes wire transfer details.

UPDATE: Our first 200 meeting slots have been booked. However, you can still sign up for the waitlist at the links below as we work to add additional appointment times. Coming this spring, the Field of Vision team will again offer a virtual "office hours" service for the documentary community. As we’re in a moment of uncertainty, we want to make ourselves available to filmmakers in any way we can. We understand that the industry is experiencing a lot of upheaval, and that this is a particularly difficult time for freelancers and people working independently.

We will be allocating time every weekday to have video meetings and calls. We’ll be prioritizing 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.

At Field of Vision we like filmmakers to lead and improve how we work. We were inspired by Jeanie Finlay, who has opened her time to mentoring after an upcoming film shoot had to be cancelled. Jeanie is working on a new film that we’re extremely honoured to be supporting. 

We are a small team and will try our best to make ourselves available to as many filmmakers and producers as possible. If any other members of our community would also like to donate their time, we are happy to facilitate this as well, so please feel free to reach out to us.

The areas which we would like to offer consultation on are below: 

  • General mentorship
  • Feedback on proposals and grant applications
  • Project Development
  • Online Distribution
  • Digital Engagement
  • Partnerships
  • Pitch Training
  • Editing
  • Technology & Digital Security
  • Distribution
  • Editorial Feedback
  • Festival Strategy
  • Career Guidance

This is not just open to filmmakers wanting to submit work for us to review, or filmmakers we have worked with before. If you feel you would benefit from time with our team on any project you’re working on please feel free to reach out. There are more details on how to take part below.



If you would like to have a virtual meeting about any of the above, please follow this link to book a time:

(We will also be adapting to demand, and will create a waitlist, and/or increase availability if needed.)

Submissions & Pitches

While we are still managing and prioritizing our regular submissions system, we would also like to make time for project and pitch meetings.

To sign up for a pitch meeting with us, please make sure you have submitted through our system prior to the meeting, using the link below:

Once you have submitted through our submissions form, please sign up for a meeting slot here. NB: We won’t be able to take any meetings around potential projects until you’ve submitted through the system. If you’re not ready to discuss a specific project, or are looking for more general advice, please use the first form.

Please bear with us as we begin rolling out our virtual office hours service. This initiative came together very quickly, so there may be hiccups. We just wanted to offer something to start. 

As we navigate these uncertain times, what is certain is that we are a strong community of creatives and storytellers. We have shown time and again how resourceful we are, how dedicated we are to our craft, art form and field, and how supportive we can be of each other. 

Please stay safe everyone, The Field of Vision Team


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