The 27th annual Hot Docs Canadian International Documentary Festival, which launched in Toronto yesterday (April 24), is surely going to be scrutinized closely by industry watchers for the duration of its 11 days for any indications it has to offer about the health, and resilience, of its parent organization.

That’s only to be expected, given a tumultuous 2024 that began with then-Hot Docs president Marie Nelson’s public declaration of an imminent financial crisis for the organization, which was followed in swift succession by the departure of the festival’s just-appointed artistic director; the mass exodus of 10 programmers weeks before the launch of the 2024 festival, citing numerous issues with Hot Docs’ workplace culture and processes; the resignation of Nelson herself; and the temporary closure of the organization’s year-round exhibition venue, the Hot Docs Ted Rogers Cinema, as the leadership team began a strategic overhaul.

The 2025 festival has inevitably been impacted by these shockwaves, notably in a slimmed-down industry program and a reduction of roughly 30% in the film lineup from the 2024 edition. But it is also launching amidst an organizational regrouping that includes the appointment of a new executive director in industry veteran Diana Sanchez, and, as was announced just prior to opening day, a potential sale of the Ted Rogers Cinema that would include a lease-back provision allowing Hot Docs to continue its year-round programming.

Speaking to Playback‘s sister publication Realscreen ahead of the 2025 festival, Hot Docs director of programming Heather Haynes (pictured left) and industry programs director Elizabeth Radshaw (right) discuss how this year’s event fits in with Hot Docs’ larger organizational realignment, while also returning the spotlight to what is most at stake: the ongoing health of committed, independent non-fiction filmmaking.

This interview has been lightly edited for clarity and concision.

How have the programming and execution of the 2025 festival factored into the larger strategic planning for Hot Docs’ rebuilding and future as an organization? What can this year’s festival tell us about the shape and role that Hot Docs wants to take moving forward?

Heather Haynes: As you know, this year’s festival has been scaled back. In terms of programming, our goal was to maintain a similar percentage and representation of Canadian films, global representation, independent filmmakers, and diverse storytelling styles as in previous years. We wanted to ensure that the essence of our programming remained consistent, true to the kinds of work we have championed in the past. Our commitment is to supporting filmmakers, as well as to Hot Docs’ goals for rebuilding.

The 2025 festival has seen the return of some of the members of the programming team who resigned ahead of last year’s edition. Without discussing these individuals specifically, is this indicative of broader conversations that have taken place about the internal culture of the organization as part of the rebuilding project?

Haynes: The culture of the documentary programming room is a delicate ecosystem that is built on trust. We may not always agree, but it must be an environment where programmers can feel safe engaging in deep and sometimes difficult conversations about the films, the global and political contexts they emerge from, and the ethical questions they raise.

At Hot Docs, we aim to be collaborative and hold space for deep conversations. It is a space where programmers are diverse, and their lived experiences are valued and listened to. And it is also a space to make mistakes, ask questions, be vulnerable, and support each other in learning and growing.

Given the tenor of the times, the kind of social impact documentaries that Hot Docs has traditionally championed have an increased resonance. What do you think are some of the key themes in this area being addressed by this year’s selection?

Haynes: While there are many standouts this year, a number of films directly confront some of the most urgent and destabilizing issues of our time. They present complex narratives on forced migration and exile, the rise of religious fundamentalism, women’s issues, and the reimagining/questioning of dominant persistent political narratives.

Also, as part of our Made In Exile program, we are partnering with PEN Canada to present a Made In Exile panel featuring filmmakers and writers from Sudan, Palestine, Ukraine and Iran. This panel will be moderated by Kaveh Shahrooz in conversation with exiled creators who offer a unique perspective on the human cost of displacement, sharing the lived experiences of conflict, survival and hope.

Relatedly, during the programming process, what was the planning around how to manage the presentation of films that address some of the most charged current geopolitical conflicts — Israel-Palestine of course, as well as Russia-Ukraine? Have there been discussions about the possibility of contentious viewers or disruptions at festival venues?

Haynes: There have certainly been conversations about the potential for strong reactions from audiences, especially given the sensitive and deeply personal nature of some of the themes being explored. As the world becomes increasingly polarized, this is becoming a normalized process for, I think, many festivals.

We’ve recently seen a largely streaming-driven “genre-fication” of non-fiction storytelling on one hand, and experimentation with DIY, direct-to-audience distribution models on the other. What is your assessment of the current state of the “traditional” festival circuit-to-(hopefully) distributor acquisition pipeline? And what role(s) can curatorially varied, broad-interest festivals like Hot Docs play as distribution continues to evolve?

Elizabeth Radshaw: Festivals are at the intersection of what you have described as the streaming-driven value chain of independent documentary release and they are an audience-builder for filmmakers who are working in alternative modes of direct-to-audience distribution. And Hot Docs plays a dynamic role between these two worlds.

Festivals are still a center point for sales agents, distributors and exhibitors to source the films they choose to champion in the marketplace and to invest in for their audiences. The landscape is changing, of course, but the desire and demand for documentary is not — in fact, there is unrecognized growth potential. Festivals like Hot Docs celebrate the art form on a large scale, and in turn are able to deliver engaged audiences for documentaries across curated exhibition, theatrical and streaming.

As was previously announced, the 2025 festival has a slimmed-down film selection and industry program. As Hot Docs’ strategic realignment continues, is there an intention to gradually return to the scope of previous editions?

Haynes: There is absolutely the desire to gradually expand our programming; however, this must be done thoughtfully and with care. It’s not just internal and financial considerations that will impact our decision, but external factors such as the global political climate and its impact on documentary filmmakers and the market. Many variables will influence our next steps, but our top priority remains growing in a way that allows us to best support both the filmmakers and our team.

Hot Docs runs from April 24 to May 4.

This story originally appeared in Realscreen

Image courtesy of Hot Docs