To apply to Spotlight on Documentaries at Independent Film Week, click here.
Deadlines: May 1, 2015 (Early)
May 22, 2015 (Final) (midnight, Hawaii-Aleutian Standard Time – HST)
About the Program
Spotlight on Documentaries is an extremely successful and viable forum for U.S. and International buyers, sales agents, and financiers to meet with filmmakers with new documentary feature projects. Presenting 60 documentaries ranging from those at an early financing stage (i.e. early development or in production) to those nearing completion (i.e. in post-production or at a rough cut stage), this section includes emerging and established filmmakers in non-fiction.
Accepted filmmakers will take part in pre-scheduled one-on-one meetings with potential financing and distribution partners, speed dating meetings with festival programmers, invitations to private documentary events, and exclusive access to the Filmmaker Conference.
Who Can Apply
Filmmakers in production or post-production seeking financing partners, broadcast/distribution, and festival invitations.
*U.S. filmmakers only (‘U.S. filmmakers’ means: U.S.-born, or U.S. resident; projects submitted through open submissions must have a U.S. director or lead producer attached; a select number of non-U.S. projects are considered through IFP’s international partners only.)
*Intended feature length projects (50 minutes or longer)
*Projects that are in production or post-production, but not yet complete, with sample material to submit
Lofty Nathan’s 12 O’Clock Boys; Tracy Tragos and Andrew Droz Palermo’s Rich Hill, Todd Miller’s Dinosaur 13, Martha Shane and Lana Wilson’s After Tiller; Zachary Heinzerling’s Cutie and the Boxer; Katherine Fairfax Wright and Malika Zouhali-Worrall’s Call Me Kuchu; Dawn Porter’s Gideon’s Army; Omar Mullick and Bassam Tariq’s These Birds Walk; Jason Osder’s Let the Fire Burn; Penny Lane’s Our Nixon; Lauren Greenfield’s The Queen of Versailles; Marshall Curry and Sam Cullman’s If a Tree Falls: A Story of the Earth Liberation Front; Ashley Sabin and David Redmon’s Girl Model; Katie Dellamaggiore’s Brooklyn Castle; Bess Kargman’s First Position; Jay Bulger’s Beware of Mr. Baker; Marie Losier’s The Ballad of Genesis and Lady Jaye; Julia Meltzer and Laura Nix’ The Light in Her Eyes; Michael Collins’ Give Up Tomorrow; Laura Poitras’ The Oath, Jennifer Arnold’s A Small Act, Rebecca Richman Cohen’s War Don Don, Julia Bacha’s Budrus, Sean Fine and Andrea Nix Fine’s Inocente; Rick Goldsmith and Judith Ehrlich’s The Most Dangerous Man in America: Daniel Ellsberg and the Pentagon Papers, Aron Gaudet’s The Way We Get By