20 21 Field of Vision Field of Vision CONTINUED COMMITMENTS As part of its mission to advocate for and within to improve the industry, Field of Vision proudly maintained programmatic funding support for emergent nonprofit film organizations. Field of Vision continued support for Firelight Media, a vital organization that supports nonfiction film by and about communities of color, and No Evil Eye Cinema, an underground microcinema that aims to redefine the creative and social parameters of film for underrepresented communities. Field of Vision’s support expanded to include an emerging network, FWD-Doc: Documentary Filmmakers With Disabilities, that works to increase opportunities, networks, and employment for D/deaf and disabled filmmakers. FILM HIGHLIGHTS American Factory From Academy Award-nominated directors Steven Bognar and Julia Reichert, “American Factory” documents the revitalization of one long-shuttered factory in Ohio by a Chinese billionaire, in which high-tech China clashes with working-class America. “American Factory” premiered at Sundance in 2019 and walked away with the U.S. Documentary Best Director Award. The film sold to Netflix and in 2020 won an Academy Award for Best Documentary Feature; was nominated for a BAFTA, a Peabody Award, and a Producers Guild of America Award; and won a Primetime Emmy for Outstanding Director and was nominated for two others in Editing and Cinematography. Disclosure “Disclosure” (by director Sam Feder and executive producer Laverne Cox) is an unprecedented, eye-opening look at transgender depictions in film and television. “Disclosure” was eventually bought by Netflix and released in June; with a distribution of 200+ million subscribers in 37 languages and 190 Still: Disclosure/Field of Vision Field of Vision First Look Institute launched Field of Vision five years ago with the goal of bringing new and unique perspectives from filmmakers, journalists, and artists into the news cycle — to both challenge and elevate different narratives, and deepen understanding of the critical stories of our time. Field of Vision is here to push the boundaries of nonfiction storytelling, to expand those who tell stories and how they’re told, and to advocate for the field. In the vast landscape of independent documentary film, Field of Vision’s unwavering focus on artistic approach, craft, and a commitment to the filmmakers and their development sets this initiative apart. Embracing the intersection of visual journalism and cinematic filmmaking, Field of Vision has established itself as a leading producer, funder, mentor, and champion of new, diverse, and expansive perspectives. Supporting nonfiction filmmaking that uses innovative and artistic ways to explore critical global issues, Field of Vision helps push boundaries and advocate for better practices, a more equitable industry, and a better future. The artists supported represent a range of backgrounds and artistic mediums from filmmaking, journalism, and art. Field of Vision has supported more than 161 films to date, including 89 shorts, five series, and 67 feature-length documentaries, with 60 films currently in various stages of production. From the beginning, the team worked with intentionality, consciously supporting films and filmmakers that are traditionally underrepresented, and films that are made by members of their communities: 55% of the filmmakers we have supported are female, 44% are people of color, and 37% are filmmakers from outside of the United States. In 2020, as much of the world shut down, Field of Vision films continued to expand our ideas of what is possible. The team earned recognition from prestigious festivals like Sundance and Tribeca, and from the Academy Awards (one win, one nomination), Emmys (one win, five nominations), World Press Photo Awards (three wins), Peabody Awards (one win, one nomination), and Critics’ Choice Awards (one win, four nominations). Recognition at this scale increases visibility of the stories being told while celebrating and elevating the career paths of the filmmakers.

First Look Institute | Annual Report Page 11 Page 13
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