As economics editor for Channel 4 News in the U.K. and the author, most recently, of PostCapitalism: A Guide to Our Future, Mason is well-suited to examine the tumultuous recent history of Greece, which has confronted both creditors and the European Union on the austerity measures that have crippled the country’s economy.

Alongside frequent co-conspirator Theopi Skarlatos, Mason tracked the political upheaval in Greece; Skarlatos directed their collaborative fourpart series, #ThisIsACoup, while Mason produced and narrated the films. In this wide-ranging conversation, he talks about capturing the moment when hopes were at the highest, striving for access to key Syriza politicians navigating new power and internal party disagreements, and what he hopes other journalists can learn from the film.

How did you first come to follow what’s going on in Greece?

Mason: I was at the Davos conference in January 2010 at the moment that it had dawned on everybody that Greece had a bunch of debt that was completely unpayable. I remember the then-prime minister, George Papandreou, surrounded by journalists, thinking to myself, “Shit, I know what’s going to happen here.”

I have a connection with Greece going back to the mid-1980s — a family connection to the Greek left, when the Greek left was so tiny that its conferences could be in a very small room. By 2010, there’d been a ton of unrest among young people, even in the very good years. During the period of the anti-globalization movement, when Seattle and Prague were going up, the Greeks were massively involved in that.

So I knew two things: one, how badly Greek society would take it if a huge austerity problem was imposed. And two, that the Greek left was serious, that it had spent 20 or 30 years becoming mature, becoming ambitious for power. It was not out of the question that if Greece went into a crisis, it was something that had the power to blow the whole societal system of the country apart.

So I can remember that moment [looking at] Papandreou, thinking, “I have to get back in touch with everybody. This is going to be big.” By May of that year, I was in Athens reporting on the first austerity program, which by now seems relatively mild. But it was enough to effectively bring the government down.

Had you anticipated how things might go down this past January with the elections?

Mason: On election night, me and Theopi looked at each other, saying, “We have to record this, because it’s going to be an epic clash.” We weren’t certain the Europeans would smash [the newly elected government], but two people said to me — sources I won’t name, one on the left of Syriza, one in the very heart of the global banking system — “Are these guys crazy? This is fucking Europe they’re dealing with. This is Goldman Sachs.”

Here are some intelligent voices on the fringes saying there is going to be absolute catastrophe, they’re going to take them on, and the Europeans will destroy Greece. But there’s people in the center of Syriza saying, “Hey it’s fine, we’ve been told — Renzi told us, Obama told us — it’s all going to be fine.” It was a car crash that you could see from the first night of election.

What was your strategy for reporting and capturing the story?

Mason: We didn’t know how this was going to end, or when it was going to end, but we both assumed there would be a two- or three-month period in which there would be a kind of Greek spring. And we knew [after that] there would be some kind of a deal, some kind of a compromise with Europe. And after that’s over, that people will feel deflated. And we’ve got to capture the moment when hopes were at the highest, because there are a bunch of other left movers in Europe who will want to learn from it.

One thing we decided was to push into the countryside and record the deep Greece, as I call it. I’d spent almost 24 hours a day reporting on that January election, and I never even left Athens. So we said number one, deep Greece. Number two, working class Greece.

Then the third thing we wanted was the story of the radical movement. There is a place in Athens called Exarcheia, which is like the old Left Bank combined with the old Lower East Side combined with the old Berkeley of ’68. It’s impossible to get a camera into it, even on a good day, even when you have a hoodie and a big T-shirt with Che Guevara on it — that camera is going to be atomized in the moment, as long as it’s late enough in the day for the guys of the movement to actually be awake.

So we challenged ourselves to just go and push cameras out, to find people who’d want to talk to us. We knew we’d get the government side, but you have to work really hard to get a coherent narrative out of the people.

Did you have any idea of what you were going to hear in the countryside?How did one aspect of your work inform the other? The functioning as a Channel 4 broadcaster and economist, and pursuing this film project?

Mason: I knew that this would be the biggest political economic story of 2015. I didn’t know then there would be a refugee crisis on the same scale — something that doesn’t really feature heavily in the movie. But the fact that I’m a day-to-day journalist means I couldn’t be there all the time, so what I did was put my name to an appeal for funds. I put my name to producing the film. And for me producing is an unusual role because normally I’m reporting, I’m hands-on with the filming. Theopi is a longtime collaborator of mine. I knew if I could just raise the money to put her there in the situation that she could find the right people — we would eventually have a story.

In the interim I had to cover the British election. I had to cover a bunch of other stories that are quite interesting, and one gets sent around to do them. But I realized I couldn’t sleep and do my day job unless I knew I had a handle on the whole Greek situation. That’s why I put myself in the unusual role of producer.

Were you in touch frequently with Theopi, hearing about what she was filming and finding?

Mason: I would consult week by week and say, “What are you doing this week?” Theopi is the kind of journalist who will follow the story, cover those two extremes — pretty pictures, as it were, and rioting, and sometimes the two are the same. I didn’t have to micromanage the shooting — what I did was concentrate on building the journalistic relationship with the key politicians, and that took us some time.

We hear from [then-Finance Minister Yanis] Varoufakis and the other guy, [Euclid] Tsakalotos, who is now the finance minister, fairly early on, but it took us some time to get ourselves accepted and trusted inside the Maximo, which is the mansion of the prime minister, in terms what we were actually trying to do. They were trying to run a country in the midst of a crisis, and they were also a very inexperienced party — they struggled to do the daily news framing that the White House or 10 Downing Street would do.

So having to deal with documentary filmmakers was a complete low order for them. But I spent some time trying to think through how to solve that problem and eventually, in the movie, I think we did.

You solved the problem in terms of gaining access, or deepening the access you had?

Mason: This was a party that eventually split. Between January and August there were internal disagreements going on, and I found it sometimes difficult to understand, because whenever they’re speaking to me on camera, or even off camera, they’re trying to minimize the amount of internal disagreement that there was. In retrospect we know more about it, but at the time, if people say something to you as a journalist, you can only believe them until you have evidence to the contrary.

It was navigating that issue rather than the problems of access. By the time of what we call the “rupture,” the time when they threw off the relationship with the IMF and said fuck you — by that time we had [established] a mutual trust, which enabled me and Theopi to maintain our independence as journalists and draw boundaries. But you know, we’ve had to struggle, fight, hustle, for every time we got the access.

Where do you see the film fitting within the spectrum from news to documentary, from the topical to the historical? You’re putting it out there much quicker than most documentaries, but not as quickly as if it were straight news.

Mason: I’ve done enough news on this — this is certainly not news. It’s not even current affairs analysis. It is a film in four parts that you could quite easily watch, and in its later iterations I think it will be watched as a whole. It is a film in four parts that has the ambition to be cinematic, that has the ambition to also tell a deeper story.

In Syd Field’s book about screenwriting, he said to take a phrase that must sing throughout the film and tape it to your typewriter. And here that phrase is “Europe smashed the first left government in modern history. The politicians made mistakes, but the people were always really strong.” That’s what it’s about.

The film is pure chronology — we did a ton of retrospective interviews with key people, but in the end almost none of it fits in the documentary, because we realized once we got to the edit that we could stay in the moment for almost the entire movie. In terms of the turnaround time, we were clear to our funders that we wanted to make the first draft of history, but as a documentary.

I’m not worried about the fact that other documentaries will come out. I’m not rushing to beat people because I know that we have the story. The only thing that could beat it would be a fictional feature film that could tell the story of all the secret meetings, which we can’t tell.

If I were to sit on the rushes of this and wait five years until everyone has written their memoirs, Syriza is out of power and everyone can come clean about what’s going on, then certainly it will be a more valuable historical document, but it might not be more accurate or fresh. The brilliant thing about working with Laura [Poitras] is that she understood that for some documentaries, timeliness is important. And also that the platform allows you to play with the genre.

Were you uncertain as you went along of where would be your end point? It could have come at the end of episode 3, but the episodic structure allows you to have these multiple climaxes or multiple endpoints, which seems like an accurate depiction of how it all went down.

Mason: The interesting thing for us was the moment that they won the referendum. You know, either they win or they lose and that’s going to be the end of the thing. So they defeated the dragon, and either a bigger dragon will come eat them or the big dragon is going to fly off into the distance and they shout hurray. And that was right — the climax is the moment they win the referendum and the end is the moment that they completely surrender despite having won the referendum. We really knew that.

One of the biggest challenges I had, as somebody who is managing, by that time three crews every day — sitting there coming off the end of my day job at 10 p.m. every night — was trying to take stock of what’s happening and then reorganizing people for the next day. I felt a bit like Mozart in the film Amadeus. He’s trying to write two things at once, and we were doing that.

During that time we’re trying the hardest we can to keep ourselves going, but we knew the biggest climax had already happened, and we said again and again how many more shots of people queuing at ATMs do we need? We keep saying the queues don’t differ — there is no dynamic to them, there is just this horrible status like economic snowfall, and it makes everything quiet.

Nevertheless it was still valuable that you were filming. There was more of the story to tell. And you were the right people to tell it.

Mason: I’m very keen to leave behind in Greece some greater capacity to do this kind of journalism. Nine-tenths of the Greek broadcast and print media is hostile to Syriza, hostile to social justice, and has been described at oligarchic, corrupt, and totally biased. The other tenth are really good journalists who have had no money for five years.

The left government comes into power, and many of them have personal skin in the game of that left government and therefore when it comes to asking difficult probing questions and thinking really objectively — I wouldn’t expect them to do that because they are reliant on the good will of the mass movement that has brought this government to power. The kind of media that needs to be in Greece is independent of the left government, critical of it, asks it tough questions, but also is not in the pocket of oligarchs, money launderers and criminals who have been running that country for 70 years.

I am determined to leave behind teams of people who watched how Theopi and I worked. We’re both BBC-trained journalists — watch how we work and understand that it is possible. Objectivity towards the issue and responsibility towards your participants — basic, obvious public service journalism that barely exists in Greece. One of the first things I want to do when I get this edit out of my hair is get back there and do seminars around the movie, around the film with the people who were involved with it. What did we learn and what can we cascade down to our fellow colleagues in the Greek media?

How would you anticipate the film might be received in Greece, as well as the type of journalism you’d like to see pursued there?

Mason: Whatever the beauty of the shots, however brilliantly constructed the narrative is, the mere fact of seeing behind the scenes in this government is such a head fuck. Because no other media have got it.

Everybody who is Greek that’s seen rushes or excerpts from this, they tend to clutch at their throat and go, “Wow, I’ve never seen this. I’ve never seen the prime minister’s office. Who knew the chief of staff has a bust of Lenin on his desk?” It’s going to do their heads in, but after it does their heads in, I want them to say, “Well, what happened? What did we learn from that?”

#ThisIsACoup, Episode I: “Angela, Suck Our Balls” #ThisIsACoup, Episode II: To Pay or Not to Pay? #ThisIsACoup, Episode III: Oxi — The Greek Word for “No” #ThisIsACoup, Episode IV: Surrender or Die

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.

KEY DATES:

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

APPLY:

Submissions are now closed.

Please direct any questions regarding this application to ifthenshorts@fieldofvision.org

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 saeedah@fieldofvision.org 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

Shorts

https://fieldofvision.org/submit-short

Features & Episodic

https://fieldofvision.org/submit-feature

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

April

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

May

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

June

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

July

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

September

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

October

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

Fiverr

Upwork

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: https://bit.ly/3bnJnaQ

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

DOC NYC

Late Deadline - May 1

Extended Deadline - July 1

IDFA

Early Deadline - May 1

Late Deadline - August 1

New Orleans Film Festival

Late Deadline - May 8

Extended Deadline - June 19

Jihlava

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:

Cancelled

Full Frame

Ebertfest

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

BAMcinemaFest

Cleveland International Film Festival

Ebertfest

SXSW

Garden State Film Festival

SIFF

Sydney Film Festival

BFI Flare: London LGBT Film Festival

SFFILM

Riverrun International Film

Fargo Film Festival

Columbus Documentary Week

Martha’s Vineyard Film Festival

Sun Valley Film Festival

Online Only

Thin Line

CPH:DOX

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

NewportFILM

Greenwich International

AIFF

Postponed

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

Cinequest

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

Otff

AKS International Minorities

Kashish Mumbai Queer Film Festival

Northwestfest

Denver Women + Film

Cinema St. Louis Qfest

CAAMFest

Atlanta Film Festival

Salem Film Festival

Philadelphia Environmental Film Festival

Princeton Environmental Film Festival

Millennium Docs Against

ZagrebDox

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

COVID-19 COLLECTIVE DREAM JOURNAL

Women Make Movies Virtual Film Festival

2500 Museums Online/HYPERALLERGIC

CABIN FEVER BGDM: COVID-19 FREE STUFF TO WATCH

Mononoaware Film Care Package

Shorts

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Our 100 Days 7/7

American Carnage (9 min.)

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Conditioned Response (6 min.)

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Our 100 Days 4/7

Here I’ll Stay (10 min.)

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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.)

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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.)

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#ThisIsACoup 4/4

Surrender or Die (16 min.)

Theopi Skarlatos and Paul Mason

Eric & “Anna” (14 min.)

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Birdie (14 min.)

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The Above (8 min.)

Kirsten Johnson