– Is there a specific theme you are curating Hot Docs 2019 around?
– This year, the new theme sections are «Persister», […] which are stories told by women about women. As the Me Too movement grows and evolves, how are documentaries reflective of this ongoing moment in time where women are not being or refusing to be silenced?
– Next, we have «Animal Magnetism», which is about the inexorable relationship between humans and animals.
The third section is «Making Believe», which is about the lies we are told and the lies we tell ourselves.
– What film would ultimately make it into the Hot Docs programme?
– When we are looking for films we go in with no preconceptions. We want the storytelling to unfold before us. The programming team loves nothing more than discovering a film through the submission process that they had no idea about and are blown away by.
«We live in a world where there is so much mis- (and dis-) information.»
– Is there a seminal documentary that really engaged your interest in the genre?
– The film that is a touchstone for me, because I saw it at a formative moment in my life and development as a programmer, was The Thin Blue Line (1988) by Errol Morris. It exploded my mind in terms of the possibility of what a documentary is. It was radical for its time. I didn’t know a documentary could be that way. It didn’t just have an impact on the real world as it also had a massive impact on the form of documentary.
– Over the last two decades, documentary has been the quickest rising film genre in terms of popularity. Why do you think that is?
– We live in a world where there is so much mis (and dis) information, documentary is still a place where you can get closer to the heart of the truth in most subjects. In a lot of ways, documentary filmmakers are the last people standing, waving the flag for the truth and facts.
There is certainly an element in looking to documentary to help navigate this crazy world we live in, but also because they are being made in such interesting and creative ways these days […] They are losing this opinion often held that documentaries are «good for you», that they were what you were forced to watch at school and were terribly boring and didactic.
– Over the past decade, what have you seen as the most formidable changes to the documentary industry?
– It has been …
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