What's Up with Docs Podcast

Usually, after recording a podcast episode, Ranell and I would quickly say goodbye to our guests so we could get on with Saturday afternoon activities. We stayed in the Zoom room for over an hour when we recorded our episode with Jennifer Crystal Chien. When listening back, I realized the richness of the conversation. Jennifer has a unique theory of change regarding correcting systemic wrongs and harms that BIPOCs and true coconspirators in the documentary community experience.  While Ranell and I loved our work at the IDA, it was consistently hampered by a work culture rooted in white supremacy, patriarchy, and anti-blackness. The demands of white male filmmakers and white female co-workers were centered on policy implementation and day-to-day operations. Post-traumatic Non-Profit Syndrome is real, and I, like many in similar organizations, became “the problematic Woman of Color.” For more on this, check out the graphic on the COCo (the Centre for Community Organizations) website created by Safehouse Progressive Alliance for Nonviolence. Thembe Bhebe of the European Film Mart and the Carribean Fim Academy introduced me to Jemma Desai's work “This Work isn't for Us” in 2020. It was her writing, along with the list of demands from the former and current BIPOC employees of  BIPOC at the Columbia Film Society, theatre artists, as well as the mentorship, community of support of ArtEquity, Somatic Abolition practices, and my therapist, that helped me to find come to come to terms my experiences, find my voice and create the change I needed. I hope this episode will give BIPOCs and white coconspirators committed to anti-racism the strength to advocate for themselves and the filmmakers they serve. The following discussion between myself, Jennifer, and Ranell also planted the seed for the panel Ranell planned and moderated at the International Documentary Association's Getting Real 2022, entitled Collateral Damage and Institutional Repair which featured Sarah-Tai Black (Critic, Programmer, and Curator), Jemma Desai (Creator of “This Work Isn't For Us”), Cintia Gil (Programmer), Lalita Krishna (Producer/Director), and Rachel Pronger (Curator and Producer). In the spirit of discernment and mental health, the song for this episode is Kenny Rogers' “The Gambler.” In the documentary non-profit space, you need to know when to hold them, when to fold them, when to walk away, and when to run. If you liked this special episode, please share it with a friend dealing with Post Traumatic Non-Profit Syndrome. If you have any resources you'd like me to add to this page, please email the link.

In this episode, I speak with filmmaker, mentor, activist, and co-founder of Re-Present Media, Jennifer Crystal Chien. During our conversation, we chatted about how she got into docs, her commitment to advocacy, and the field-building and changing work at Re-Present Media. Jennifer's theory of change for the field is rooted in liberation and the spirit of the song she picked for this week's episode by the late great Curtis Mayfield, “Keep On Keeping On.”

During this conversation, I speak with the filmmaker, archivist, and the artistic director of Dox Box, Jihan El Tahri about the manifesto, “Liberate the Image.” The manifesto was a call to action to make archives more accessible to content creators living in the Global South. During the conversation we discussed: Archival preservation of assets of those who are part of the Global Majority Who gets to monetize archives and when does monetization make access to historical assets prohibitive The role archivists play in the preservation of history and limitations due to limited staff, storage capacity, and adequate facilities. Access to non-commercial archives such as museums, community organizations, and individuals Licensing struggles across the borders

We recognize that war, conflict, and occupation often bring destruction not only to physical bodies but to the histories, archives, and cultural identities of the people impacted. During this conversation, I spoke with artist, writer, filmmaker, and teacher Mariam Ghani about her latest project What We Left Unfinished which is executive produced by Alysa Nahamis. We discussed the necessity and importance of rediscovering history that was previously thought to be lost as well as the unique ways those subjected to occupation and conflict whether that be through war or political structures can hold on to their stories.

In this episode, I speak with a friend, filmmaker, and professor, Jacquil Constant. During our conversation, we chat about our time working on Bridging the Divide: Tom Bradley and the Politics of Race, BADWest, and his documentary short, Haiti is a Nation of Artists. We also talk about his Haitian heritage and the festival he founded which is now in its seventh year, the Haiti International Film Festival - how he started it and how it has grown even during the past few pandemic years. Starting a film festival from scratch is no small feat and Jacquil is truly a man with a vision, that's why this episode's song is Nipsey Hussell's “That's How I Knew.” Our conversation was recorded in January 2022.

In this episode, I speak with film director Scott Calonico and archival researcher and producer Sandy Weeding. During our conversation, we chat about our first meeting at the Ji.hlava Documentary Film Festival, Sandy's experiences of Berlin before the wall came down, unique German archives, and their latest documentary short, Catwoman vs. the White House. The film which will screen on The New Yorker website for Black History Month celebrates a little-known moment in history when Eartha Kitt confronts Lyndon Baynes and Lady Bird Johnson with their performative initiatives for Black folks in the inner city and the problems of the Vietnam War. Soon after this encounter Earth Kitt was unofficially blacklisted in the U.S. She was fortunately embraced by Europe and the people of Franc specifically, so this week's song is her rendition of the classic, “C'est si Bon.” Our conversation was recorded in February 2022.

In the first full episode of 2022, I chat with the filmmaker and activist Emma Francis-Snyder about her Oscar-shortlisted short Takeover! We talk about her journey as a white person and the obligation to uncover and celebrate these hidden histories and all things Takeover! Including the history of the Young Lords, her many interactions with journalist and Democracy Now! co-host Juan Gonzalez. This week's episode has not one but two songs! The resistance anthem “Pa'lante” by Hurray for the Riff Raff and “Que Bonita Bandera” by Pepe Y Flora, a song that celebrates the Puerto Rican flag. Here is our conversation, which was recorded in January 2022.

In this episode, we continue our celebration of the 2021 edition of IDFA as I chat with the Senior Programmer of the festival, Laura van Halsema. We talk about how she got into docs, her nearly 20 years with IDFA, and take a deep dive into the unConscious Bias Focus program at the festival this year. The song for this episode is from the film Chelas Nha Kha which is part of the unConscious Bias strand and is entitled “Chelas City,” music by Bataclan 1950 and lyrics by Baguera, Islu, and Gohu. The film is a collaboration between Bagabaga Studios and Batalan 1950 is about the people and kids growing up in Chelas which is a neighborhood in Lisbon. During our conversation, we spoke about the anthropologist Clifford Geertz's concept of the “webs of influence.” Laura thought of this film and about the filmmakers who live in that area as they learn to define for themselves their own realities. The first love of Bataclan 1950 is making music which is prominently featured in the film. Here is our conversation which was recorded in November 2021.

In this episode, I speak with the film director & co-founder of Seen Films, Mostafa Youssef. We chat about his near lifelong love of film, the entertainment industry in Egypt and its impact throughout the Arab-speaking world, and the unique challenges of filmmakers on the Continent. We also get into the many artist development programs and resources that are under the Seen Films umbrella including a crowdsourced post-production unit and their magazine, Terr.so, the only online magazine and portal on cinema, audiovisual media, film criticism, and filmmaking in Arabic. Mostafa is also the producer of Homemade Stories which will have its world premiere at IDFA 2021. Mostafa is a Bruce Springsteen fan, so this week's song is “Hello Sunshine.”

In this episode, I speak with friend and writer, director, co-producer, Raven Two Feathers. During our conversation, we chat about when we first met and my struggle with the Seattle hills, the 4th World Media Lab, their VR project, “A Drive to Top Surgery,” which screened at ImagiNative this year. their zine “Qualifications of Being,” and their new production company, Raven and Relatives. Raven is unapologetically Cherokee, Seneca, Cayuga, Comanche and because American Thanksgiving is just right around the corner, Raven selected the Halluci Nation's (formerly known as A Tribe Called Red) “Burn Your Village to the Ground.” The band themselves delivered the following message about the holiday:On this fourth Thursday of November, you might ask yourself: do Indians celebrate Thanksgiving? Well… Thanksgiving is a complicated holiday for Native people. In a way, each day is a day of thanksgiving to the Creator for the original people of Turtle Island. This doesn't mean that we don't enjoy turkey, pie, and family as much as the next person, but at the same time, the Thanksgiving myth largely shared in mainstream culture perpetuates a one-sided view of a complicated history surrounding this holiday.

n this episode, I speak with the publicist and one of the founders of NOISE Film PR, Mirjam Wiekenkamp. During our conversation, we get into her publicist origin story, some of the differences between PR firms in the US and Europe, the unique ways a publicist can position documentary films in the European documentary festival landscape, and how publicist and impact producers can often build upon and support one another's work on behalf of a filmmaker. Mirjam and NOISE Film PR are representing several films at DOKLeipzig and IDFA that are part of the Steps' Generation Africa program. To celebrate these young filmmakers from the Continent, this week's song is Kokoroko's “Abusey Junction.” KOKOROKO (meaning 'be strong' in Urhobo), are a collective of young musicians brought together by a love for Afrobeat led by trumpeter Sheila Maurice-Grey. They specialize in a soul-shaking, horn fuelled sound with West African roots and inner London hues. “Abusey Junction” is a ballad written by guitarist Oscar Jerome. It was written on the roof of a compound in Gambia where the band spent time last year immersing themselves in the soundscapes of the region.

In this episode, I speak with Mexican filmmaker and Co-Director of Video Consortium Mexico, Brenda Avila-Hanna. During our conversation, we chat about her latest feature project Libertad, the professional needs of Mexican content creators outside of urban strongholds such as Mexico City, the immigration conversation that's happening or actually not happening in Mexico, and the educational distribution co-op New Days Films. The song for this week's episode is PUEBLOS, by Lila Downs and Sara Currichich. The song speaks about Indigenous solidarity and strength without borders. Currichich is Guatemalan and Downs is Mexican-American with roots in Oaxaca, which feels particularly resonant to Libertad and many other themes of transnational solidarity addressed throughout the episode. As a plus, one of Libertad's Producers and DP's, Casandra Casasola, is the DP for the video to this song. Casandra is a Mexican, Indigenous (Mixteca) filmmaker.

In this episode, I speak with Canadian producer extraordinaire, Ina Finchman. During our conversation, we chat the nuts, bolts, and knowledge needed to be a great international co-production partner, her work with the Documentary Organization of Canada, and the specific steps the organization took to ease some of the stress of pandemic for Canadian filmmakers. We also discuss some of her most recent work on films such as Laila at the Bridge, Stray, and The Gig Is Up, and her ongoing support of Palestinian filmmakers. For this episode, Ina chose a masterpiece written by her fellow Canadian Leonard Cohen, “Hallelujah.” Regarding the meaning of the song, Leonard Cohen said: “This world is full of conflicts and full of things that cannot be reconciled. But there are moments when we can… reconcile and embrace the whole mess, and that's what I mean by ‘Hallelujah'. The song explains that many kinds of hallelujahs do exist, and all the perfect and broken hallelujahs have equal value. It's a desire to affirm my faith in life, not in some formal religious way but with enthusiasm, with emotion.” When one looks at Ina's body of work, it is clear that documentary is the medium she has chosen to find meaning and reconcile the many contradictions that we face in life.

In this episode, I speak with director, producer, and writer Ann Kaneko and producer Jin Yoo-Kim about their latest project, Manzanar: Diverted: When Water Becomes Dust. We chat about Ann's very impressive matchmaking skills, their work on K-Town ‘92 and their reflections of the 1992 Rebellion, and how they successfully weaved the stories of environmentalism, the Indigenous, and Japanese-Americans into a beautiful tapestry. This episode's song is classic, “We are the Children” by Chris Iijima, Nobuko Miyamoto, and "Charlie" Chin. The song was one of the first bits of artistry that defined the Asian-American identity. And the chorus is a call for all of us to unapologetically embrace every aspect of our beings. It reads, Sing a song for ourselves, What have we got to lose, Sing a song for ourselves We've got the right to choose.”

In this episode, I speak with Oscar-Nominated, United Kingdom-born, and Canada-based filmmaker Adam Benzine. During the episode, we chat about his career in journalism, his move to Canada, his critically acclaimed work, Claude Lanzmann: Spectres of the Shoah, and his latest documentary project, The Curve, which is about the first 90-days of the COVID-19 pandemic in the United States. Because in so many ways the battles we are facing now so closely resemble those are parents and grandparents fought in the past, this episode's song is Marvin Gaye's timeless classic, “What's Happening Brother.” Adam specifically connects to the following lyrics from the song, “When will people start gettin' together again? Are things really gettin' better, like the newspaper said? What else is new my friend? Besides what I read. Can't find no work, can't find no job, my friend. Money is tighter than it's ever been. Say, man, I just don't understand What's going on across this land.” Our conversation was recorded in July 2021.

In this episode, I speak with DP and director, Ashley O'Shay. We chat about the uniqueness of Chicago filmmakers, How she discovered her love for cinematography, her work on national brands, her work on Surviving R. Kelly, and her feature debut, Unapologetic, which centers queer Black women in the Black Lives Matter movement. Because we've got to show love for Chi-town and It's so important for Black folks to both stand in our righteous rage and joy this week's song is Jamila Woods' “Basquiat” featuring Saba.

In this episode, I speak with journalist and filmmaker, Resita Cox. We chat about her local news career and why she decided to become a documentary filmmaker. We also discuss her latest project which is supported by Kartemquin Films, Freedom Hill a powerful film that celebrates Princeville, North Carolina, the first town incorporated by freed, enslaved Africans in America that is now suffering the impact of both environmental racism and climate change. Because Resita is a filmmaker who is not only true to her vision and her protagonists and in doing so, disrupts the status quo, the episode's song is The Roots, “What They Do.”

In this episode, I speak with Matt Lauterbach, Grishma Shah, and Reveca Torres of All Senses Go. During our conversation, we chat about how their work with organizations and content creators to ensure the media they support and create is accessible for all, the accessibility changes the team would like to become the norm as we move into a post-Covid world, and how people with disabilities and their co-conspirators can work together effectively to make lasting, sustainable change that benefits us all. Because organizations like All Senses Go and others disrupt the notion that those who are labeled not mainstream need to seek outside validation, this episode's song is Billie Eilish's self-acceptance and self-love anthem, “My Future.”

In this episode, I speak with curator, Abby Sun about her work with the DocYard, an award-winning film and discussion series at the Brattle Theatre in Cambridge. We also chat about her work with Distribution Advocates, an organization committed to demystifying and transparency in distribution with the goal of creating a more ethical and equitable framework. Because ethical and equitable practices are rooted in liberation and require us to take actions that break us from the things that seem safe and stable, this episode's song is Queen's “I Want to Break Free.”

In this episode, I speak with Coordinating Producer at American Documentary/America Reframed, Robert Chang. During our conversation we chat about his Ph.D. in cultural anthropology, America ReFramed's new season, navigating documentary in the soon-to-be post-COVID world, and get a lesson on how PBS works locally and nationally. Because keeping one's balance in the documentary world and life is one of the keys to creativity, this week's song is Janelle Monáe's “Tightrope".

The Black Association of Documentary Filmmakers West (BADWest) is a professional organization providing people of African descent working in documentary film, video or other media the opportunity to network professionally, share resources, exchange ideas, and meet socially in order to enhance the development, production, promotion, and exhibition of documentaries. BADWest also advocates for the recognition and professional advancement of Black documentary filmmakers.

In this episode, I speak with writer, photographer, educator, filmmaker, and proud mom, April Dobbins. During our conversation, we chat about her many, many, many artistic endeavors and the joys and challenges of making her first feature documentary, Alabamaland. Because we are so often defined by the situations to which we say, “Yes,” this week’s song, Fela Kuti’s “No Agreement” challenges us all to find power in small and large acts of resistance. Remember, “No,” is a complete sentence.

In this episode, I speak with filmmaker and educator Victoria Thomas. In our conversation, we chat about her latest project, Born in New York, Raised in Paris, her teaching at the London Film School, the production company she founded, the Polkadot Factory, and the challenges of navigating a documentary and narrative film industry rooted in a white supremacist work culture that is resistant to change. Because just like many Black women, Victoria finds being in these spaces can be taxing and exhausting, to say the least, this episode’s song is Destiny Chid’s “Survivor.”

In this episode, I speak with filmmaker Lindsey Dryden and filmmaker, novelist, and podcaster, Day Al-Mohamed. In our conversation, we chat about Day’s advocacy work in Washington, D.C., Lindsey’s work as a producer of the film Unrest, and the organization they co-founded with the Oscar-nominated director of Crip Camp, Jim Lebrecht and Alysa Nahmias, FWD-Doc. FWD-Doc is committed to empowering filmmakers with disabilities and part of that advocacy is being bold saying the words “disability” and “disabled.” With that said and the spirit of naming what is, is, this week’s song is Destiny Child’s “Say My Name.”

In the this episode, I speak with Firelight Media’s Manager of Artists Programs, Chloë Walters-Wallace. In our conversation, we chat about what got her started in the documentary field, her work at the Tribeca Film Institute and the New Orleans Film Society, and some of Firelight’s new initiatives for BIPOC filmmakers. Because she is originally from Jamaica, this episode’s song is Toots & the Maytals, “Take Me Home, Country Road/West Jamaica.”

In this episode, I speak with artist and filmmaker Rüzgâr Buşki. In our conversation, we talk about immigrating from Instanbul, where to get great Turkish food in Berlin, discrimination in Germany, and their current project, I’ve Got the Power. Because I’ve Got the Power explores how imagination and fantasy can be used as tool to process and heal grief and be basis for creating a new reality, this episode’s song is Gaye Su Akyol’s “İstikrarlı Hayal Hakikattir/Consistent Fantasy is Reality.”

In this episode, I speak with writer and director Elegance Bratton and producer and costume designer Chester Argenal Gordon. In our conversation, we chat about how they met each other, their latest documentary project Pier Kids, and the joys and strength needed to stay true to themselves and their protagonists' stories and voices. Because they are my favorite power couple, this episode's song is Ashford & Simpson's classic, "Solid."

In the final episode of 2020, I speak with the director and editor, Lillian Benson. In our conversation, we talk about when she met the Civil Rights icon, Congressman John Lewis at the Academy Awards, the film she edited about his life, Get in the Way: The Journey of John Lewis, her documentary editing career, and her transition to the narrative world. Lillian’s commitment to integrity in her work and the telling Black stories is rooted in her keen sense of responsibility - a responsibility of truth-telling and of the reclamation buried and denied of histories. Because in all her work, she strives to help all of us remember who we truly are, this episode’s song is Ysaye M Barnwell’s “Wanting Memories.”

In this episode, I speak with filmmaker and co-founder of the Undocumented Filmmakers Collective, Set Hernandez Rongkilyo. In our conversation, we discuss their filmography the ways undocumented filmmakers are demanding authorship and agency in the telling of their stories. Because Set is a very proud Pilipino/Bicolano, this week’s song is Love, Anthony, & Maya’s “A Thousand More” from the album Rock the Mic for Human Rights in the Philippines: Stop the Killings.

In this episode, I speak with educator, filmmaker and former co-chairperson of BADWest: Black Association of Documentary Filmmakers - West, Denise Hamilton, In our conversation we talk about BADWest, her latest doc/interactive project Race Relay, and what it’s like to be educating the next generation of international documentary filmmakers at the New York Film Academy. Because Denise and her family has deep ties to the Black liberation movement that go all the way to Mary McLeod Bethune, the song for this episode is Mavis Staples rendition of the gospel classic, “We Shall Not Be Moved.”

In this episode, I speak with the writer, director, and producer of Socks on Fire, Bo McGuire, winner of the Best Documentary Feature Award at the 2020 Tribeca Film Festival. Since Bo is a country boy at heart and Reba McEntire is one of his favorite artists, this episode’s song is the country classic, “Fancy.”

n this episode, I speak with the Head of Dok Industry Programme at Dok Leipzig and founder of the Documentary Association of Europe (DEA), Brigid O’Shea about what brought the Australian transplant to Germany and the upcoming festival, the oldest documentary festival in the world. Because she is an Aussie, this week’s song is Men at Work’s “Down Under.”

In this episode, I speak with director, creative producer, writer Jaime Starboisky about the Queer Media Film Festival and his virtual reality project, Therese & Peta: A Tale of Two-Spirits. In 1991, the two protagonists of the project, Therese & Peta, did a road trip back to Peta’s home on the Pine Ridge Reservation. Because in conversations with Jaime, Peta described that time as a moment they felt free, this week’s song is Belinda Carlisle’s “Live Your Life Be Free.”

In this episode, I speak with award-winning film curator, film festival director and television commissioning editor and broadcaster, Claire Aguilar about her career in documentary and her recent work with the American Film Showcase Pakistan. Because we first began working together, we always seem to run into each other to and fro from the restroom, this week’s song is Klymaxx’s R&B classic, “Meeting in the Ladies Room.”

In this episode, I speak with Fallon Young, Executive Director of the New Orleans Film Society about the plans for the New Orleans Film Festival and other programs in the time of COVID-19, “regional” documentary filmmakers, the George Floyd Uprising, and the specific, anti-racism remedies that are being put into place. Since the motto of the Crescent City is, “Laissez les bon temps rouler,” and there is no better place to be, just let the late, great Fats Domino take you there with the classic song, “I’m Walking to New Orleans.”

In this week’s episode, I speak with the filmmaker, Dante Alencastre, director & producer of AIDS Diva: The Legend of Connie Norman. This episode’s song is one of Connie’s favorites, CeCe Peniston’s “Finally.”

In this week’s episode, I speak with Lily Zepeda, director, producer & writer of Mr. Toilet: The World’s #2 Man. Because she is a self-proclaimed of the child of the nineties, this week’s song is TLC’s “Waterfalls.”

In this week’s episode, I speak with Ani Mercedes, CEO, Founder, & Impact Producer at Looky Looky Pictures. Because she’s a fearless hustler, this episode’s song is Cardi B’s “Money.”

In this episode, I speak with Sonya Childress, Senior Fellow at the Perspective Fund, about her pioneering work in the field of documentary and impact. Because in all her work, she centers People of Color and Blackness, in particular, this week’s song is the New Rotary Connection’s classic, “I Am the Black Gold of the Sun.”

In this episode, I speak with Godisamang Godi Khunou, founder of Mogale Pictures, a production company dedicated to creating content from the Pan African and Pro African Feminism perspective. Because she is in late development on her first film Black Women & Sex, this week’s song is Hugh Masekela’s remake of the Fela Kuti classic “Lady.”

In this episode, I speak with director/writer, Emily Cohen Ibañez, and protagonist/writer Ashley Solis Pavon about their upcoming project Fruits of Labor and what it’s like to collaborate on the filmmaking process. Like Rob Base and DJ EZ Rock say, “It Takes Two.” I spoke with them at the 2020 Big Sky Documentary Film Festival.

In this episode, I speak with Choctaw/Seminole co-founder of Longhouse Media, Tracy Rector about her filmmaking, her new gig with Nia Tero and, her mentoring of the 4th World Indigenous Media Lab. With everything that she does, like Chaka Khan and Whitney Houston, Tracy’s informal mantra should be “I’m Every Woman.” I spoke with her at the 2020 Big Sky Documentary Film Festival.