The penultimate event of my month-long sojourn abroad was attending Britdoc, a three-year-old film festival/market/pitch forum that is taking the international nonfiction community by storm. I know first-hand how much hard work it takes to stage something like this. I am duly impressed and now know why this small festival tucked away in the hallowed halls of Oxford University (pictured, Keble College quad above where we sleep) brings out a large number of VIPs and film executives from around the world. This was Britdoc's biggest year yet (800 delegates attended over the course of the three weekdays) and it promises to only grow larger and more important as the years go on. I've attended many festivals over the past couple of years for a variety of reasons: because I'm a filmmaker; because I write about film; because I'm fairly new to the community and it is the most fantastic way possible to meet folks and grow relationships; and because I'm starting to get hired to stage these kinds of events myself.
Britdoc is one of the most filmmaker-centric events of this kind that I've attended and one of the most enjoyable and relaxed. But everyone lolling on the lawn or chatting over pints in the bar is a bit deceiving because a lot of work is getting done. And, ironically, that relaxed environment seems to only enhance the sort of real substantive business of getting films made--plenty of time for dialogue and exchange between makers and those that enable them. I spoke to many satisfied and excited filmmakers who took this rare opportunity to pull up a patch of grass next to people like Cara Mertes, Ryan Harrington, Matt Dentler, Fernanda Rossi, Sandra Whipham, Charlie Phillips, Nancy Abraham, John Battsek, Janet Pierson, Debra Zimmerman, Judith Helfand, David Courier, Peter Dale, Danielle DiGiacomo, Julie Goldman, and on and on and on, to get to the heart of the matter--talking about real-life strategies and getting the assistance they need to get their films funded, made, marketed,
seen and exhibited. I also attended one of the most exciting and useful panel discussions, aka Master Classes, ever and I've sat in on a crapload of panels, trust me. More on that in a bit.
An initiative of the Channel 4 British Documentary Film Foundation, Britdoc is the brainchild of Beadie Finzi, festival director, and force-of-nature, Jess Search, festival chief executive (pictured hosting the pitch forum). It's run year-round by a crack staff of experts and producers whose driving passion is supporting nonfiction films and the artists who create them. Over the course of the next couple of posts, I will write about some highlights, and my impressions of what Britdoc had on offer this year. This UK-based conference and festival will only grow in number and stature as the years go on; it was a privilege to see this in its infancy and become an early supporter and member of the Britdoc community. A special thank you to Ella Weston and Sophie Toumazis for the warm invitation.
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