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The article talks about filmmaker Laura Poitras' curation for the Copenhagen International Documentary Film Festival that took place from November 6 to 16, 2014 in Denmark. Topics discussed include the 1976 documentary film "Underground", Poitras' career as a reporter, and talks about her documentary trilogy of which the first two films are "My Country, My Country" and "The Oath".

The article looks at how the film festival model is or is not working and what it needs to continue to offer to stay viable. It cites the important role that can be played by the filmmaker in enhancing the festival experience that goes beyond the purview of the festival itself. Director Christian Gaines believes that festivals should go back to their core values, honoring the artist by showing his or her work with the best possible picture and sound.

The article discusses the highlights of the 2014 International Copenhagen Documentary Film Festival.

An interview with Nicolas Philibert, French film director who was honored by the Thessaloniki International Documentary Film Festival with a 9-film retrospective of his works. Philibert discusses how films like "Fifi Hurle De Joie," by Mitra Farahani and "Triologie Bill Douglas" are among those works that he watched that influences his own work. Also mentioned are the process he observes when he edits his work and how he works to create a film that takes viewers' breath away.

In the article, the author discusses the EurasiaDOC documentary workshop program that is funded by the European Union and managed by the Lussas, France-based organization, Ardèche Images. The three-week scriptwriting and editing residencies are conducted in such places as Yerevan, Armenia, Kazakhstan and Kyrgyzstan. The works of Siberian Studio of Independent Cinema's Nicolas Bem and Ardèche Images' Rebecca Houzel are also cited.

An interview with director Anna Odell of the film "The Reunion" is presented. When asked on the possibility of documenting her speech to her classmates, she says that she wanted to document her speech using any material. She explains about the film language used in the film as very sophisticated. She mentions that Rikard Svensson is the man who is always at her side.

The article discusses the Doclisboa International Film Festival held in 2015 which featured several films including "La Trinchera Luminosa del Presidente Gonzalo" by director Jim Finn, "Bambule" by directors Eberhard and Meinhof Itzenplitz, and the "Underground" by director Haskell Wexler.

The article discusses the film curation by Chinese artist Ai Weiwei at the 11th Copenhagen International Documentary Festival (CPH:DOX) held in Copenhagen, Denmark from November 7-17, 2013 including "The Fall of the Romanov Dynasty" directed by Esfir Shub, "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb" directed by Stanley Kubrick, and "Sicko" directed by Michael Moore.

The article discusses the highlights of the 2009 Independent Film Week Project Forum (IFP) and concurrent Independent Filmmaker Conference which were held in New York City. Ryan Knighton, creator and screenwriter of the narrative film "Cockeyed," commented on the use of the term "despite" during the IFP. Rebecca Richman Cohen, director of the documentary film "War Don Don," stated that the forum initiated the effort to reach out to funders, festivals, strategists and distributors to help independent filmmakers.

The article discusses the highlights of the Cinéma Vérité International Documentary Festival in the Islamic Republic of Iran from October 15-19, 2008. According to the article, there were 300 films in exhibition and about 80 films in national and international competition programmed into 16 strands and tributes to filmmakers Richard Leacock, Peter Wintonick and Jorgen Leth. Most of the films came from Europe and South America including "Chicago 10," "Full Battle Rattle" and "Trouble the Water," among others.

The article discusses the highlights of the 30th iteration of the Independent Feature Project's (IFP) Independent Film Week. The event opened with a presentation by independent filmmaker Kevin Smith. Changes that took place at the event include the waiver of any fees for participating directors with projects accepted into the Forum. The annual Independent Filmmaker Awards Ceremony was held at the end of the week.

The article presents information on the annual IFP Market and Filmmaker Conference, held at the Puck Building in Manhattan in New York City. During Market week, many filmmakers also participate in other IFP programs including No Borders and the Rough Cut Lab while others attend up to as many as 20 meetings a day.

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The article offers information on the CPH: DOX Forum mass media event in Copenhagen, Denmark in 2013. It states that the event features documentary films that exhibit cinematic works. According to the author, the event also launches the ART:FILM platform that film producers can use to boost their creativity.

The article presents the possibilities of sound and silence with regards to filmmaking. Sound filters are offered to enable visual artists to build a defined character that might otherwise be seen as cliched. The use of asynchronous sound is suggested to enable sound or voice to grow beyond the dimensions of the picture. Visuals are presented unable to tap into emotional resonance with accompaniment of sound.

The article offers views from film directors Michael Collins and Marty Syjuco concerning the making of their award-winning documentary film "Give Up Tomorrow." The directors emphasize their goal to make a good movie that would supply intense emotional depth and a profound connection for viewers. Collins stresses their challenge in trying to achieve both a complex-driven film and a character-driven film.

The article focuses on the Serbian Independent Cinema. The film festival was created by Mladen Vusurovic in 2008 in Belgrade, Serbia. The event aims to offer a program of international documentary work and create an opportunity where a dialogue about the universal human condition can ameliorate the propensity of most local residents to view things on the basis of the injustices they experienced.

An interview with Finnish filmmaker Pirjo Honkasalo, who was invited to select the Top 10 film for the 23rd International Documentary Festival Amsterdam (IDFA) in the Netherlands, is presented. According to Honkasalo, the visual aesthetic is the essential part of the documentary film. She adds that her trust in the audience allowed her to create a certain style. The filmmaker describes experiencing a personal self-discovery while watching a film as a success.

The article reviews the 2010 Sheffield Doc/Fest documentary films "12 Angry Lebanese: The Documentary," by Zeina Daccache and "Waiting for Abu Zayd," by Mohammad Ali Atassi.

The article features the 53rd International Leipzig Festival for Documentary and Animated Films that was held in Leipzig, Germany in 2010. It cites the four themed competitions, including the International Panorama, the Neue Deutsche Animation, and the Pink Elephants animation. The judges in the competition include Latvian-born Signe Baumane, Germany's Olaf Encke and Great Britain's Andy Glynne. Several of the featured films are cited including "I Was a Child of Holocaust Survivors," directed by Ann Marie Fleming.

The article offers information on "Russian Focus: Stories from the Age of the New Soviet," a programme on Russian documentaries, directed and co-produced by Russian filmmaker Igor Maiboroda. The program provided an insight on how the Russians viewed themselves after the fall of the Union Soviet Socialist Republic (USSR). It cites the making of the "Stalker," by Andrei Tarkovsky as the tour-de-force piece of the programme where the conflicts among the crew during filming was shown.

The article reviews the documentary films "The Most Dangerous Man in America: Daniel Ellsberg and the Pentagon Papers," directed by Judith Ehrlich and Rick Goldsmith and "War Games and the Man Who Stopped Them," directed by Dariusz Jablonski.

The article presents a panel discussion of documentarians moderated by Pamela Cohn as part of the Royal Flush Fest held in Manhattan's East Village, New York City in the autumn of 2009. The discussion centered on how nonfiction filmmakers tackle deals with their personal and ethical dilemmas of making films in war-torn countries and the extent they will go to tell a story. The panel was participated by Andrew Berends, Ross Kauffman and Eric Daniel Metzgar who expressed the ambivalence of filming real people's stories in an intimate manner.

The article discusses documentaries that reconnect people with history which entices them to actively engage with its changing politically motivated interpretations. It talks about films that reconstruct historical events and stand out for their vigilant application of filmmaking's imperative, that is, the freedom of honesty. The article cites three filmmakers and their works such as "The Fixer: The Taking of Ajmal Naqshbandi," directed by Ian Olds, "Sergio," directed by Greg Baker, and "Burma VJ," directed by Anders Østergaard.

The article features The Andrej Wajda Master School of Film Directing in Warsaw, Poland. It describes the school as a postgraduate institute for both narrative and nonfiction film professionals who develop their ideas to film under the tutorship of Polish and European film masters. Candidates to the school's one-year courses are those who have a certain amount of life experience and whose outputs are expected to be produced into films that can be shown through the help of the institute.