Project X continues a collaboration between Poitras and Moltke that began with their reporting on documents released by NSA whistleblower Edward Snowden in 2013, and is part of a joint reporting project between Field of Vision and The Intercept. On November 16, 2016, The Intercept published Ryan Gallagher and Moltke’s complementary story entitled, “Titanpointe: The NSA’s Spy Hub in New York, Hidden in Plain Sight,” which reveals the location of NSA’s NYC surveillance hub, and delves into he history of the structure, the man who designed it, the late John Carl Warnecke, and the secret NSA program run out of the building, called “Titanpointe”.

Project X is a visual excavation of Warnecke’s monolithic, windowless telecommunications building owned and operated by AT&T at 33 Thomas Street overlaid with readings from secret NSA documents. The actual voices supplying that audio are, in order of appearance: Rami Malek, Emmy Award-winning star of the USA Network television show Mr. Robot, as well as films such as The Master and Short Term 12; and Michelle Williams, the three-time Academy Award-nominated star of films such as Manchester by the Sea, Brokeback Mountain, Blue Valentine, and My Week With Marilyn.

In this far-ranging conversation, Poitras and Moltke talk about the origins and nature of their collaboration, the process by which primary source texts become dramatically compelling cinema, working with actors to subtly characterize official documents, and the challenges of filming a building that somehow manages to be hidden in plain sight.

How did you find each other, and when did your collaboration begin?

Moltke: I was working on a radio documentary about the physicality of the Internet when Snowden came out. I tried to contact Laura, who was totally under siege at the time and starting to edit CITIZENFOUR. I didn’t hear back, so I travelled to Rio and convinced Glenn [Greenwald to work with me and a small team of Danish reporters from Information. I lived in Berlin, so Glenn introduced me to Laura. After reporting three stories involving Denmark - based on Snowden documents - Laura asked me to work with her directly.

Poitras: Both Henrik and I come out of other types of narrative work—narrative documentary and radio. The question was how to approach the [Snowden] archive visually, and with audio. How do you present things that aren’t just straight up news stories? How do you use primary documents to tell stories, and to make them come alive through the use of cinema and music. I think there’s a dialectic going on [in Project X] between the primary documents driving the visual choices and not just imposing a vision. I had been hungry to figure out a way to do that and this project gave us an opportunity.

Moltke: Between 32 Avenue of the Americas, which is the old AT&T headquarters, 60 Hudson Street, and 33 Thomas Street—those three building are really, really important for the internet. Most people don’t know this. That was something that had always fascinated me, the physicality of these [buildings]—and you can see all these markings on the streets, you can see these cables. So I started looking into it, and I started filming the building. One day we went down there and Laura decided to walk into the building, which I hadn’t done before. I’d never even thought about it. And in that moment I had an idea of what the movie would be. You’re in a place that’s totally normal, but there’s this other layer that’s totally secret and not there.

It’s clearly not inviting.

Moltke: Everything about the building tells you not to go in there. There’s just a guard, but you can’t get anywhere further, there’s a thick bulletproof sliding door. But somehow you don’t even think about it.

Poitras: All the kids in the neighborhood have myths about that building. It’s like a haunted house.

Moltke: The first night I filmed some guy came out from the building and said that I couldn’t film it because it’s a federal building. He then he started talking about 9/11 when I pointed out I was filming an AT&T building, not the Federal Building. It was really strange. I had a lot of experiences like that, people coming up and telling me random, sometimes striking details. One person working in the building told me he’d heard that Bush would have been taken to the building if he had been in NYC on 9/11, because it’s the safest place in the city.

Poitras: I had also been fascinated by the covert travel instructions since the first time I saw them. That there were guidelines for how people should travel as spies within the United States—they’re so fantastic as documents. The film allowed us to combine these two things—our interest in this building and these covert travel instructions.

It’s interesting to think about multiple stories with different forms and different expressions coming from a single archive like that. Here’s one source and all these different expressions. How do you identify what is going to be what? How do you sort through what makes sense as a written story, and what could be a film?

Moltke: For me, it’s a gut feeling. When I first found proof that identified AT&T as a partner, I had a clear idea [of the news story]. But also reading these documents you see images. In this instance the story worked both as an investigative news story and as a short film.

When did you know you had enough evidence to make the connections?

Poitras: It was the satellites on the roof.

Moltke: We contacted the FCC who confirmed that 33 Thomas Street was the only AT&T location in all of New York State that had a licensed satellite earth station. We knew the location was in New York and we knew they had a program that relied on satellite uplink, and we knew the partner was AT&T. That made it pretty clear. But from there to be able to go and convince an editor, that’s another long stretch.

Poitras: The way the archive appears, they use codenames for things that are the most sensitive. And one of the things that is most sensitive for the NSA are those partnerships with the telecoms—AT&T, Verizon. There are always codenames [for those].

Moltke: The whole design is made for you to not be able to figure out what it is.

In a way it’s really valuable to have to contend with the roadblocks. It allows us to understand how these systems, how the lack of transparency works.

Poitras: This is actually what Henrik has been doing for the past three years.

Moltke: And it drives you crazy. It’s fun but also…you go down these super long paths, and you just have to give up after a few weeks.

Does the path itself become valuable?

Moltke: Sometimes.

Poitras: I would say there was a parallel process in terms of both the work on this film and the work we did for the Whitney show in terms of just getting the facts right. In determining the public interest of information, and having a simultaneous publication of things that fit into the narrative of a film, or in an art sense, and of more hard news. That’s been one of the great things about collaborating with Henrik—he’s been able to straddle those things.

Moltke: I spent so much time in that archive that to go out and see the locations is such a surreal experience. I went down to look at the NSAs building in the National Business Parkway in Maryland. It’s such a strange place—it’s an actual business park. That’s where all the post 9/11 stuff, all the contractors moved in and for some reason you can actually film there

In his film you’ve got audio sources that don’t directly match the imagery, which goes from the evocative driving motif to vantages on and around 33 Thomas. Did you gather a lot of footage and pare it away in the editing room, or were you looking for specific visuals to shoot?

Moltke: Originally I went out and tried something, and showed it to Laura. And then we went and shot it with Jarred Alterman, who was a great DP to work with. Laura had a clear idea before we went on that trip of which kind of shots she wanted and how it would work with the audio.

Poitras: At some point we discovered all this backstory about the building and its amazing architect John Carl Warnecke, this fascinating Cold War character who not only designed this building but also a host of other government buildings. With Nels Bangerter, the editor, we started to map out how to approach the reveal of this building, and decided to use the road trip to get us there. We really needed to work with an editor who would be able to approach something conceptually, but also with a narrative heart to it.

Henrik, there’s a quote in your story about how the building kind of blends in with the city. And it’s really true—it inexplicably, creepily can disappear from view. And in the film you really convey that, especially with the night photography. You visualize it without having to say it.

Poitras: One of my favorite shots was one that Henrik took of the cityscape all lit up with this black monolith that’s all dark. We wanted to reveal the building at different stages: With more detail on the ground and then get it at elevation to see how it exists within and among buildings. It jumps out at you in a very different way than when you’re on the ground.

In your recent work, Laura, you’ve really been able to mine drama from landscape—I’m thinking especially about The Oath. But there you had characters. Was there a limit here to how far you could push things, narratively, without central characters?

Poitras: I do think that there are characters, actually. I think the narration in Project X function as characters in a very real sense.

They’re obviously providing an informational function—reading aloud from these documents. But how do you see them as characters?

Poitras: They’re voices of authority giving instruction, narrating the hidden world. They’re in a way hidden from us as people, but they are among us. There are people who go to work and are given these instructions. They’re on the subway sitting right next to you but they’re told what to tell their families, what to do and say—these characters kind of being the NSA.

Yet they’re talking to us.

Poitras: We wanted a sense of communication. It’s not a monologue. It’s a communication being directed at agents.

Moltke: There aren’t many documents that are like this. You definitely can sense from the documents that they’re trying to prevent blowing their cover. You would almost expect that you wouldn’t need to read these kinds of things if you were really good at cloak and dagger stuff, but the NSA is a different kind of organization, they’re not so used to working domestically and under cover.

There’s almost a soft quality to his text that lends itself to being a conversation. It’s practical information for a client, not orders from a superior. It’s interesting when something written gets read aloud in that way. It automatically makes it more human since there’s interpretation in the expression, even if only mildly. When people write documents like that, they’re not writing for vocalization.

Poitras: There’s the male voice, Rami Malek, which has this kind of whispering in your ear quality. And then there’s a more authoritarian female voice, which is Michelle Williams, that’s more dictating, a more distant voice.

How did you come to work with Rami and Michelle?

Poitras: Henrik and I are both big Mr. Robot fans. I had asked Sam Esmail to be an Executive Producer on my film Risk, which is about WikiLeaks and Julian Assange. Then, right before we sent the e-mail invitation to Rami, we saw the last episode of Mr. Robot, which freaked us both out because the cliffhanger was all based around 33 Thomas Street. It’s actually crazy.

What was it like directing Rami? [At the time of this interview, Michelle Williams hadn’t recorded her part.]

Moltke: I was very impressed with his skills. He’s so good at nailing details. With documentaries you’re used to getting one chance and then you have to work with what you have, so this was obviously an amazing experience.

Poitras: The way he read lines, he brought this really human touch.

Were there different takes on how to do that voice?

Poitras: Yeah, we did a range of, “how official or how distant or how whispering in your ear should it be?” It’s not just somebody speaking to himself, but communicating to an agent who’s making this drive.

Why the two voices, instead of just Rami?

Poitras: We had different primary documents, and we wanted them to be different characters. So we had the male voice reading the travel guide for the road trip, and then the other being the official voice. They’re both coming from within the NSA, but they have different qualities. At one point we thought about having a third voice, since we’re pulling from three different sets of documents, but we ultimately settled on two.

And were Rami’s repeated readings of the word “redacted” incorporated into the text?

Poitras: It was put in later.

Moltke: I changed the names of everything that needed to be redacted. It was a difficult choice: how do you represent text redaction in audio?

Poitras: We tried doing a beep, tried reverse audio.

Moltke: Scrambling.

Poitras: I wasn’t convinced it was going to work until I heard Rami speak it. Once he said it, I knew it was really good. It added a level of humor. It was a great thing to be wrong about.

Was it just the one usage used over and over again?

Poitras: No, he read it a bunch of times. And we used different versions.

Moltke: I’m a total redaction nerd. Working with the documents can be very boring and repetitive and Kafkaesque at times. When we’re able to come up with something that is so condensed and aesthetically pleasing it makes me happier to do the less inspiring work, which still needs to be done, and without errors.

Poitras: One of the great things about working with Henrik is that, of course these documents are newsworthy, but there’s a limit to how far you can go with that. How can you go into a different space which is—what does it feel like, what does it do to you to be a spy? What does it feel like when you can’t talk to people about what you do? How do you live with that? It’s a crazy, schizophrenic way to live. That’s not news—that’s a human question. And that’s the stuff I’m drawn to.

Field of Vision is partnering with Lawyers for Reporters to launch a free legal clinic for freelancers working in documentary in the United States. This program will provide legal information about specific topics and possible referrals to pro bono legal counsel.

Lawyers for Reporters is a joint project of the Cyrus R. Vance Center for International Justice and First Look Media’s Press Freedom Defense Fund that provides pro bono legal assistance to local journalists and media organizations.

Our volunteer lawyers can provide people working as freelancers in the documentary film community in the U.S. with information about the following subjects:

  • Newsgathering rights and potential legal exposure from newsgathering (but we cannot advocate on your behalf regarding Freedom of Information (FOI) requests).
  • Legal risks of publishing content, such as defamation, invasion of privacy, and copyright infringement
  • Licenses, releases, and other content- and distribution-related contracts, but excluding film financing and other complex agreements
  • Risk assessment for filmmaking and security issues

If you are interested in receiving information and a possible referral to pro bono counsel, please fill out the intake form below. After your request is received, a member of our team will let you know whether an information session with our volunteer lawyers can be scheduled.

Intake Form Here.

Please note:

  • This program can only provide information, not legal advice.
  • Completing an intake form does not automatically qualify you for an information session.
  • Submitting an intake form and discussing a matter with a volunteer lawyer does not create an attorney-client relationship that would protect confidential information from disclosure in a legal proceeding.
  • A referral to pro bono counsel is not guaranteed even after a consultation.
Image from The Trial by Johanna Hamilton.

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.

This list has been compiled as a guide to help documentary filmmakers in response to the coronavirus (COVID-19) pandemic and its impact on the filmmaking community.

We’re going to keep adding to this document as we find any more support available to the community.

We’re also hoping to provide more initiatives and services ourselves, and you’ll be able to find all of those as we add them on this page.

This guide is separated into the following sections:

  • Field of Vision Resources
  • General Data and Preparation
  • Industry Work Information
  • Relief Funds for Filmmakers & Small Business
  • Current Project Funding
  • COVID-19 Financial Help: Resource Lists and Guides
  • Industry COVID-19 News
  • Festival Status & Updates
  • Other Resources

This is a living document and will be updated as more information becomes available.

We'd like to acknowledge and thank the organizations who have made their own compilations of resources available to the community, including: Creative Capital, Brown Girls Doc Mafia, Washington Filmworks, Coronavirus Resource Kit, Collective Care By State, Dear Producer Blog, and Independent Cinema Office.

If you know of any other support available to filmmakers, please email with information.

Field of Vision Resources

Mentorship & Consultation Service

Our virtual "office hours" service is available for filmmakers, and offers consultation on a variety of areas. We’re prioritising 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.

We have booked up our first 200 allocated meetings, but are running a waitlist and hope to open up more slots asap. The waitlist is here.

Documentary Freelancer Relief Fund

A $250,000 fund to provide grants for freelancers working in the Documentary field. The fund distributes 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.

The fund is open to freelancers working. worldwide

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

Information about the fund can be found here.

Field of Vision Project Funding

Field of Vision provides funding for both Short, Feature-length and Episodic projects at all stages of development, production and post-production. We have no deadlines and commission and fund on a rolling basis. We are looking for a strong artistic vision and approach and films that tell the stories of our world from new perspectives.

To see our criteria please visit our submissions guidelines here


Features & Episodic

General Data and Preparation

As the COVID-19 outbreak continues, it is important to stay up to date with information related to public health and civic engagement. Below are sources for general information and statistics about the outbreak:

COVID-19 Data Pack from Information is Beautiful

Symptoms and Statistics

Emergency Kit- Al Jazeera

Legal rights in a quarantine

Industry Work Information

The nature of our industry makes work stoppage and social distancing difficult. Below are resources for filmmakers who have to travel, work on location, or work from home for the first time:

The Economic Impact of Coronavirus Survey

Travel and On Set Information

How to travel during the international coronavirus outbreak

On Set Tips: From Washington’s Film Worker (bottom of page)

Film and TV Charity Covid-19 Advice

Working from Home

Work from home securely

These are the internet providers offering free Wi-Fi during coronavirus

Avid free 90-day licenses

FREE Temporary Licenses and More to Help You Work from Home

How to Disinfect Camera Equipment and Spaces

Series of webinars for the suddenly remote workforce

Other Industry Resources

What You Should Know About Online Tools During the COVID-19 Crisis

Pro Bono PR Services for Films with Festival Cancellations

Ways to Help Artists and Creatives During the COVID-19 Outbreak

Ideas for responding to COVID-19 in the Film Industry

Cash Flow for Filmmakers Webinar

Please note: Specific filming restrictions can vary from state to state, country to country, and so on. You should check with your local film office regarding filming on location at this time.

Relief Funds for Filmmakers and Small Business

Below are new funds set up specifically to relieve filmmakers during this time:

Artist Relief - This fund will distribute $5,000 grants to artists facing dire financial emergencies due to COVID-19. It was designed by Americans for the Arts to better identify and address the needs of artists.

BFI and the Film and TV Charity’s Covid-19 Film and TV Emergency Relief Fund - BFI and Film and TV Charity have partnered to create a new industry-backed Covid-19 Film and TV Emergency Relief Fund to help support the creative community in the UK.

Covid-19 Freelance Artist Resource - A list specifically designed to serve all types of freelance artists and those interested in supporting the independent artist community during this time

COVID-19 WOC Artists Relief Fund - This fund is specifically for women of color working artists or creatives that have been directly impacted financially in light of COVID-19.

Disability Arts New Commissions - Disability Arts Online is a UK-based small organisation, committed to supporting their community during this time they’ve allocated £8,000 to new commissions for artists with disabilities.

Facebook Small Business Grants Program - Facebook is providing assistance in cash grants and ad credits.

Freelancers Relief Fund - Freelancers Relief Fund will provide financial assistance of up to $1,000 to freelancers who are experiencing sudden hardship as a result of the COVID-19 pandemic, whether as a result of illness, lost work, or caregiving responsibilities.

Global Open Call for Art - Amplifier has created an open call for work that focuses on public health, flattening the curve, and mental health during this global crisis. The organization will award $1,000 apiece to 50 artists, with new winning works announced each week, starting the first week of April.

NYFA Emergency Grants - Resources for arts and cultural organizations based here in New York and elsewhere.

PEN Writers’ Emergency Fund - PEN America will distribute grants of $500 to $1,000 based on applications that demonstrate an inability to meet an acute financial need, especially one resulting from the impact of the COVID-19 outbreak.

Rauschenberg Emergency Grants Program - Expected to be rolled out in late May or early June the grant will provide visual artists, media artists, and choreographers up to $5,000 worth of assistance for medical emergencies.

Relief Fund for Hollywood Support Staff - The entertainment organizations #PayUpHollywood, Scriptnotes Podcast and YEA! have teamed up to create the Hollywood Support Staff COVID-19 Relief Fund, aimed to assist LA-based support staffers affected by the COVID-19 shutdowns.

SAG-AFTRA Disaster Relief - Financial help to SAG-AFTRA members who have been impacted by this pandemic

Current Project Funding

Compiled Lists of Project Funding

American Documentary’s Filmmaker Resources - An extensive list of US and international funding sources

Doc Society Resource List - These links and documents are designed to connect you to the organisations you need to know to get your doc funded and make it all happen.

The EDN DOCalendar - The EDN DOCalendar provides an overview of what's happening in the international documentary industry.

International Documentary Association - Fiscal Sponsorship & Grants - A searchable database of available grants and fellowships

Upcoming Funding Deadlines

Here are a few upcoming deadlines for key funding opportunities. Please note that this is not an exhaustive list, but we’ll be adding to it over time


SFFILM Documentary Film Fund

The SFFILM Documentary Film Fund (DFF) supports engaging documentaries in post-production which exhibit compelling stories, intriguing characters and an innovative visual approach.

Deadline: April 30th, 2020

Stage: Late Production and Post-Production

Gucci Tribeca Documentary Fund

Provides funds to feature-length documentaries which highlight and humanize issues of social importance from around the world.

Deadline: April 30th, 2020

Stage: Production or Post-Production


Rogovy/Miller Packan Doc Fund

Supports Docs that address social issues that inspire others.

Stage: Advanced Development, Production or Post-Production

William Greaves Fund

Firelight’s William Greaves Fund is a research and development grant that supports nonfiction filmmakers of color based in the United States, Mexico, Puerto Rico, Colombia, and Brazil.

Stage: Development


IDA/Pare Lorentz

2020 funding focus is on criminal justice.

Stage: Early Production

Sundance Doc Fund

The Sundance Institute Documentary Fund provides grants to filmmakers worldwide for feature-length projects that display artful and innovative film language and techniques, rigorous research, originality, project feasibility, contemporary cultural relevance, and the potential to reach and connect with its intended audience.

Stage: Development, Production & Post-Production


ITVS Open Call

The documentary can be on any subject, viewpoint or style as long as it is in active production already, as evidenced via a ten to fifteen-minute work in progress sample. *not a grant, co-production agreement.

Deadline: July and then re-opens again in Feb 2021.

Stage: Production

NYC Women’s Fund for Media, Music and Theater

NYC Women’s Fund provides grants to encourage and support the creation of digital, film, music, television, and live theatre content that reflects the voices and perspectives of all who identify as women.

Deadline:*Opens Summer 2020/check site for updates.

Stage: Post-Production/Finishing Funds


ITVS Diversity Development Fund

The Fund looks to support exceptional stories by filmmakers from diverse backgrounds: stories that take creative risks, inspire dialogue, and are rarely seen on public media.

Stage: Development

Puffin Foundation

The Puffin Foundation has sought to open the doors of artistic expression by providing grants to artists and art organizations who are often excluded from mainstream opportunities due to their race, gender, or social philosophy.

Stage: Any


Tribeca Film Institute Doc Fund

The TFI fund sponsors documentaries that spotlight contemporary themes with unique, creative filmmaking.

Deadline: Opens in the fall.

Stage: Any stage of development or production

Fledgling Film Fund

Most recently interested in climate change, but social justice/impact is at the core of the fund.

Deadline: Re-opens in the Fall. *check site for updates

Stage: Typically Post

Rolling Deadlines

Perspective Fund

Perspective provides grant support to independently produced documentary films that highlight social justice and human rights issues, that align with our priority areas.

Stage: Any stage of development or production

Catapult Film Fund

Catapult is not tied to any specific social issue agenda. We support and encourage filmmakers to tell a full range of stories on film in whatever form fits the film and artist.

Stage: Development

Cinereach Feature Film Fund

Cinereach awards grants ranging from $5,000 to $50,000 to support any stage of feature film production

Stage: Any stage of development or production.

COVID-19 Financial Help: Resource Lists and Guides

Creative Capital List - Creative capital aggregated list of resources for artists working in all disciplines, as well as arts philanthropists, and arts professionals.

Disaster Unemployment Assistance - The US Department of Labor’s Disaster Unemployment Assistance (DUA) program provides temporary benefits to people who, due to a major disaster, lost or had their employment or self-employment interrupted.

Emergency Funds for Freelancers - A list of mutual aid funds that distribute emergency grants to artists, creative professionals and freelancers facing financial hardships

Firelight SBA Loan Consultation - With the support of the Perspective Fund, Firelight Media is offering 30 minute one-on-one consultations for filmmakers of color who are applying for US Coronavirus Federal Relief.

IFP Resources for Filmmakers - Independent Filmmaker Project has curated a list of resource pages and opportunities we’ve found particularly useful and inspiring in these uncertain times.

ITVS: Applying for Federal Coronavirus Relief as a Filmmaker - Firelight Media, IDA, and ITVS are hosting a series of hour-long webinars to learn the basics of applying for the various SBA programs.

National Endowment for the Arts: COVID-19 Resources for Artists and Arts Organizations - A list of organizations that are currently providing frequently updated news and resources for artists and arts organizations.

New York State: Resources for New York State Arts and Cultural Organizations - The New York State Council on the Arts is compiling and daily updating resources to support New York State's artists and arts organizations, including emergency funds, small business support, learning opportunities, management support, and discipline-specific resources.

NYC Assistance & Guidance for Businesses Impacted Due to Novel Coronavirus - Applications for the NYC Business Continuity Loan Fund may be paused for now, but there are other resources here for businesses operating in the five boroughs.

Southern Documentary Fund: Resources for Southern Filmmakers - A list of the websites, emergency funds and resource listings for Covid-19 response to artists and freelancers from the twelve Southern states that SDF serves

Small Business Guidance and Loan Resources - The US Small Business Administration’s (SBA) page for coronavirus funding options, CDC guidance for businesses and employers, and more.

Women Arts Media Coalition - A glossary and links to many resources, brought to you by the Women in the Arts & Media Coalition with the assistance WomenArts

Women Make Movies: Regional Resources - Many organizations are providing resources and support on the local level. Check out WWM’s list of regional resources to see if your local arts organization can help.

Remote Work Sites, Opportunities, Resources

Remote Work Opportunities

Remote Film Jobs Bechance



Creative Commissions

Industry COVID-19 News

Break COVID-19 Industry Cancellations

Privilege and Pandemic: How COVID-19 Reveals the Documentary Sustainability Crisis

Most SXSW Shorts Are Streaming Free Thanks to Oscilloscope and Mailchimp

A Way of Life in Peril

Select Film Festivals and Indie Movies Figure Out Online Access

Alamo Drafthouse relief fund for furloughed staff members

Festival Status & Updates

Below you’ll find links to the latest festival news. Many festivals are still scheduled for the fall; we've included submission dates for several below. We’ve also included links to updates from festivals that have been cancelled and postponed. Please feel free to send updates to help our community stay informed.

And please check out our Google calendar for upcoming festival deadlines:

Festivals: Upcoming Deadlines

Toronto International Film Festival

Regular Deadline - May 29

Final Deadline - June 12

AFI Festival

Late Deadline - June 5

Open City Documentary Film Festival

Regular Deadline - April 24

Late Deadline - May 8

Camden International Film Festival

Regular Deadline - April 27

Late Deadline - May 26

Extended Deadline - June 29


Late Deadline - May 1

Extended Deadline - July 1


Early Deadline - May 1

Late Deadline - August 1

New Orleans Film Festival

Late Deadline - May 8

Extended Deadline - June 19


Late Deadline - May 31, 2020

Extended Deadline - July 31, 2020

DOK Leipzig

Deadline - July 7

List of Festivals that have been affected by the pandemic:


Full Frame


Sun Valley Film Festival

TCM Classic Film Festival

International Film Festival and Forum on Human Rights

European media arts festival

The Miami Film Festival

San Diego Latino Film Festival

Ashland Independent Film Festival

Watsonville Film Festival

Indie Grits

Provincetown International Film Festival

International Uranium Film Festival (Almeria)

BFI Flare: London LGBTIQ+ Film Festival

San Francisco International Film Festival


Cleveland International Film Festival



Garden State Film Festival


Sydney Film Festival

BFI Flare: London LGBT Film Festival


Riverrun International Film

Fargo Film Festival

Columbus Documentary Week

Martha’s Vineyard Film Festival

Sun Valley Film Festival

Online Only

Thin Line


Garden State Film Festival

Films on Art Festival (FIFA) Montreal

Movies that Matter film festival

DC Environmental

Hot Docs

Vilnius IFF

Visions du Reel

Environmental Film Festival (Washington, D.C.)

Cinema du Reel


Greenwich International



Canadian Film Fest

New Directors New Films

Montclair Film Festival

Tribeca Film Festival

Indian Film Festival of Los Angeles

Beverly Hills Film Festival

Prague International Film Festival

Bentonville Film Festival

Red Sea International Film Festival

Thessaloniki Documentary Festival

Blackbird Film Festival


Dox on the Fox

Oxford Film Festival

Havana Film Festival New York

Cannes Film Festival

Sarasota Film Festival

Edinburgh Film Festival

Sonoma International Film Festival

International Uranium Film Festival (Rio)

Newport Beach Film Festival

Doc10 Film Festival

American Black Film Festival

Sofia Film Festival (Bulgaria)

Red Sea Film Festival (Saudi Arabia)

Seattle Jewish Film Festival

St Patrick's Film Festival London

Calgary Underground Film

QDoc Film Fest


AKS International Minorities

Kashish Mumbai Queer Film Festival


Denver Women + Film

Cinema St. Louis Qfest


Atlanta Film Festival

Salem Film Festival

Philadelphia Environmental Film Festival

Princeton Environmental Film Festival

Millennium Docs Against


Sebastopol Documentary

ACT Human Rights Film

IFF Boston

Maine Jewish Film Festival

OutShine Miami LGBT Film

Other Resources

Watch free IDFA movies

Tired of Netflix? Stream Experimental Films and Video Art

Sundance Collab Master Classes

Netflix Party

Ten Free Ebooks from Haymarket Books

Free Quarantine Ebooks

New Day Resources for Educators

Home Grown Home-Based Child Care (HBCC) Emergency Funds


Women Make Movies Virtual Film Festival

2500 Museums Online/HYPERALLERGIC


Mononoaware Film Care Package


More to Watch

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Shirley Abraham and Amit Madheshiya

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

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