‘Docs to Watch: Directors Roundtable’ explores the heart of nonfiction

Written by Elsie Carmain, Photos by Sophia Lee

The documentary can be an intimidating format. Once a subject has piqued a director’s interest, they must decide how to approach such a big project.

The “Docs to Watch: Directors Roundtable” has returned for its eighth year to the SCAD Savannah Film Festival. Scott Feinberg, senior awards analyst at The Hollywood Reporter moderated the discussion, speaking with a wide group of documentary filmmakers.

Directors included Evgeny Afineevsky (“Francesco”), Julie Cohen (“Julia”), Ahmir “Questlove” Thompson (“Summer of Soul (…Or, When the Revolution Could Not Be Televised)”), Liz Garbus (“Becoming Cousteau”), Robert Greene (“Procession”), Todd Haynes (“The Velvet Underground”), Matthew Heineman (“The First Wave”), Amanda Lipitz (“Found”), Jonas Poher Rasmussen (“Flee”) and E. Chai Vasarhelyi (“The Rescue”).

Panelists spoke about how they have been affected by others’ stories, what drew them to their subject matter and the difficulties of creating a documentary project. 

“My first question was, ‘Why me?’” said Ahmir “Questlove” Thompson. “Everyone knew that I could do this film except for me.”

The other panelists also expressed similar moments of self-doubt, grappling with why they were the person to tell these stories. To craft a documentary, the director must start with a clear vision while still remaining open to emerging perspectives.

“It’s a delicate process,” said Todd Haynes. “You can do all the planning and research, but the best interviews are going to take you somewhere else. They’re gonna take you in a different direction.”

For some of the panelists, there was — and is — a sense of obligation to document things. World events like the COVID-19 pandemic created a call to action for many filmmakers. “I tried to take this issue and put a human face to it,” said Matthew Heineman. 

Beyond the story, directors face many roadblocks on the path to creating a documentary. Since the films portray real people and events, there are often issues with obtaining footage and gaining the rights to use it and those negotiations can take years. The process can be discouraging to many filmmakers.

“We have to try,” said E. Chai Vasarhelyi. “That’s what we do in nonfiction. The obstacles become the opportunities.”

Regardless of subject matter, each director agreed that their film had a tremendous effect on them. “It helped me come to terms with who I am and what my role is,” said Thompson. “I’m a storyteller.”

The process behind crafting a documentary is so much more than simply an uphill battle — it is a transformative experience for everyone involved.