The Changing Landscape of Cultural Documentary Filmmaking

I have been creating documentary films on the arts and social issues for as long as I can remember. Eager to begin making films while still in high school, I set myself on a path that has resulted in more than forty films reflecting the cultural and intellectual life of the Americas—not just the United States, but the continent at large. With each project, I aimed to illuminate the rich tapestry of our unique and diverse cultural heritage.

Throughout this journey, government institutions and public television served as the ideal home not only for my films but for filmmakers across the board. This model, which emerged in the post-war years, provided a reliable platform that offered audiences across socioeconomic and geographical divides programming that celebrated artistic achievement and examined pressing social issues. Public broadcasting became our natural partner, sharing our commitment to educational and culturally enriching content. Filmmakers weren't the only beneficiaries—philanthropists and patrons investing in cultural projects also saw their efforts amplified by the wide reach of these networks.

The End of an Era

However, that model, epitomized by the Public Broadcasting Corporation founded in 1967, is fundamentally changing—and not simply because President Donald Trump has taken a particular stance against it, but because it has outlived much of its usefulness. While we all relied on NPR for our daily news briefings with familiar and trusted voices, more and more people are now opting for podcasts where they can curate content to their individual needs. Much the same is happening with PBS, as viewers increasingly turn to streaming platforms for the programming they want to see—and what they want to see is not always what PBS offers.

The reality we must face is that the traditional distribution model is dying, leaving independent filmmakers like myself to navigate new channels and opportunities.

The Pivot to Streaming

Recognizing this inevitable shift, we have already begun adapting. The catalogue I created with Soledad Liendo through the Heritage Film Project has been available for some time on platforms such as Kanopy, Amazon Video, Alexander Street, and Vimeo on Demand. However, this transition requires more than simply uploading content to new platforms—it demands a complete reimagining of how we connect with audiences and sustain our work.

Our Window to the World | Kanopy now reaching millions around the world

Direct contact with the audience through the Documentary Film Fund

This October, I will be attending MIPCOM in Cannes, the industry's most important gathering of producers and distributors from around the world. My goal is to forge new relationships and explore innovative ways of distributing our films across borders, in multiple languages and formats. The international market presents tremendous opportunities for the content we create through the Heritage Film Project and with support from the Documentary Film Fund, particularly when we can demonstrate the universal resonance of artistic expression and social commentary.

The Role of Philanthropy

This evolution in production and distribution strategies extends even further to our support network. Philanthropists, donors, and foundations that have long supported our projects also stand to benefit significantly from this new landscape. As we develop stronger international networks, we create new opportunities for broader impact and the ability to reach new audiences who hunger for meaningful content.

Film festivals are giving us a chance to connect more meaningfully with viewers.

These partnerships between producers, distributors, and philanthropic organizations amplify the voices of artists and intellectuals whose work might otherwise remain confined by geographical or demographic boundaries. The streaming revolution, when approached strategically, offers unprecedented opportunities to share cultural narratives with global audiences.

Moving Forward with Your Support

We are ready to take the leap. In fact, we have already begun, and the imminent inclusion of The Art of Joy Brown in several film festivals, as well as the upcoming release of The Piccirilli Factor, positions us well to attract distributors both domestically and overseas.

The challenge is significant, but so is the opportunity. As independent filmmakers producing culturally relevant content, we have the chance to pioneer new models that may prove more sustainable and far-reaching than what came before. The key lies in embracing collaboration, leveraging technology thoughtfully, and maintaining our commitment to quality storytelling while adapting to new realities.

For this transformation, we need the continuing support of our strategic allies and donors. Our films are non-commercial and would not be viable without their support—we are counting on it to move forward and reach new viewers.

The next chapter in our nearly forty-year journey is being written now. If we are to continue thriving in this mission to ensure that art, culture, and social consciousness find their place in our rapidly evolving media landscape, we need a broader audience, international partnerships, and you.