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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.”