Forum’s just what

the doc ordered

The first `Hot Docs’ documentary forum ended in Toronto on Feb. 27 with a proud tally of 271 delegates.

The overall word was positive. Director Sturla Gunnarsson, who was on the Hot Docs jury for the best director award, says it was ‘exhilarating… didn’t talk to a single soul (there) who wasn’t excited.’

Filmmaker Barry Greenwald agrees: ‘I thought it was fantastic. To me, it was the kind of confirmation we all need of just how provocative our documentary films are. It was also a great opportunity for a number of new talents like Cristine Richey (In the Gutter and Other Good Places) to come to the attention of everyone.’

Greenwald also notes that the forum crossed language barriers and ‘created important links with our francophone colleagues in Quebec. It’s the language (and the cost of versioning) that separates us. But this time, films that weren’t versioned were screened, were seen by many, and won awards. In an industry that tends to be centralized, it was an important step.’

Industry sessions – ranging from technology talks to ethical debates – ran from packed to adequate attendance, according to the time of day (the early morning sessions were a little sparse, says Hot Docs producer Debbie Nightingale).

‘The Truth About Reality’ seminar heated up the Jackman Hall Theatre where ethics in documentary filmmaking was passionately debated. The panelists were a controversial bunch: Nina Rosenblum (The Liberators), Paul Watson (Sylvania Waters), Nick Broomfield (Aileen Wuornos: The Selling of a Serial Killer), Adam Symansky (The Valour and the Horror) and Norma Bailey (Nose and Tina: Another Kind of Love Story). The discussion centered on three issues: payment to a documentary subject (is it ethical?); a filmmaker’s responsibility to the chosen subjects of the film; and the level of truth/manipulation in any documentary.

The final word? It’s all a matter of pov. Gunnarsson, who attended the forum, clarifies the source of disagreement: ‘Each of these filmmakers has their own line that they will or won’t cross – they are all committed people, but they all come at it from their own angle. Someone once said that writing is the process of discovering what you believe – well, the same could be said of documentary filmmaking.’

The ongoing debate about truth in documentary was pegged by Broomfield: ‘I would be the last person to say my films are truthful or objective. I don’t think (those films) exist.’ Gunnarsson sides with Broomfield: ‘We are in the business of manufacturing artifacts. There is no purity; there is only either honorable intent or a lack of it.’

Friday morning’s session on the survival of pov docs had broadcasters and independent producers pitted against one another over the future of documentary production at home. At the end of the day, Paul Watson advised Canadian independent producers: ‘You have the power. They need the films.’

The public component of Hot Docs – screenings of 21 films – is just another indication of how serious documentary filmmakers are about reaching audiences.

‘The public component was established right from the start,’ says Nightingale. ‘The plan was to celebrate among our own as well as profile our industry to the public. About one-quarter of the total attendance was probably public.’

Nightingale ‘can’t wait’ for Hot Docs ’95. ‘I’ve already heard from sponsors for next year,’ she says.

The Hot Docs winners, awarded at a closing ceremony on Sunday at the Palladium, included: Peter Wintonick, Mark Achbar and Adam Symansky for best political doc, Manufacturing Consent: Noam Chomsky and the Media; Andrew Cochran for best science/technology, environment doc, Space for Four; Marcel Simard for La Vie A Du Charme, winner of best arts/culture/biography doc and Special Jury Ross McLean award; Colette Blanchard for best social issue doc, Les Fiances de la Tour Eiffel; Richey for best independent production for In the Gutter and Other Good Places; Bill Pettigrew for Minoru: Memory of Exile, best short doc; and Jan-Marie Martell for best direction, Bowl of Bone/ Tale of the Syuwe.