November 23

Still from Radiograph of a Family by Firouzeh Khosrovani

Plenary Session:

Finding and engaging your audience in a digitally overloaded world with: Sarah Mosses

Since the world has began living in and out of lockdowns, new modes of outreach and participatory models of cinematic experiences have been emerging. In collaboration with arthouse cinemas or online platforms, collective cinema experiences have created new possibilities for filmmakers to reach out and engage with their online audience. We have seen the launch of initiatives that have designed a creative strategy to get or stay in touch with their audiences, and get their films to an even broader audience than ever before. Not only watching films, but also including a more active role for the online audience, participating in and even co-creating events. In this session, Sarah Mosses (Together Films) presents the changing landscape and the opportunities for filmmakers to innovate their outreach strategies; to get their films out in the world in ways they couldn't have imagined before and engage with audiences who are in need for good stories.

This session will be moderated by Maureen Prins.

Sarah Mosses

Sarah Mosses is the CEO of Together Films, a marketing, distribution & data company in London. Sarah leads strategy development for film & festival clients to ensure impact objectives are met using data-driven audience engagement techniques. Sarah frequently presents at leading film festivals, and in 2020 launched the Digital Perspectives webinar series discussing technology solutions during lockdown. She also co-hosts the Digital Power webinar series in partnership with the Center for Media & Social Impact supported by The Perspective Fund. She has helped secure over £4M in funding for production, marketing and distribution in recent years. Sarah was previously the Partnerships Manager for Doc Society, working on the Good Pitch initiative and setting up the BRITDOC Film Distribution division.

Small Session: Where to Begin? Writing for Documentary Film with: Firouzeh Khosrovani & Maite Alberdi

When writing for documentary film, there is not always a clear-cut format to follow—each story and visual treatment will ask for a different format. The writing process can be a helpful tool in developing a narrative and a visual language for a documentary film, and help to organize the different story elements into a roadmap for production. Firouzeh Khosrovani and Maite Alberdi engage in a conversation about the writing process from the director's point of view, and discuss their latest works, Radiograph of a Family and The Mole Agent, both selected for IDFA 2020. The small session will be moderated by Isabel Arrate Fernandez.

Firouzeh Khosrovani

Born in Tehran, Firouzeh Khosrovani settled in Italy to pursue her artistic studies at the Accademia di Belle Arti di Brera. After graduating in 2002 she returned to Iran and acquired her Master’s degree in Journalism. Since then, she has contributed to, and collaborated with numerous Italian newspapers and magazines. She made her debut as a filmmaker in 2004 with Life Train, a documentary on the ‘play’ therapy provided for the traumatized children of Bam in the aftermath of a devastating earthquake. In 2007, she directed Rough Cut, a film about mutilated plastic mannequins in the shop windows of Tehran, which won thirteen international documentary film festival awards, followed in 2008 by Cutting Off, an installation and video art piece for the Triennale di Milano. Her 1001 Irans (2010), was a documentary about the image of Iran, outside of Iran. In 2011, she collaborated with three directors from three different continents on a Spanish production about the concept of beauty and women’s physical appearance, called Espelho Meu, which won the Best National Documentary award in Documenta Madrid. The next year, she directed Iran, Unveiled and Veiled Again, produced by Istituto Luce, Cinecittà, in Rome. In 2014, she participated in a collective project, Profession: Documentarist, a film in seven episodes, made by seven Iranian women directors. Fest of Duty (2014), is about a religious ceremony in Iran designed to instil Islamic beliefs and values into girls, when they reach the age of nine. The documentary follows two adolescent girls as they transition into adulthood, eight years after their official Fest of Duty. Radiograph of a Family (2020) is a Pre- and Post-revolutionary story of the daughter of a secular father and a devout Muslim mother as they co-exist under one roof.

Maite Alberdi

Maite Alberdi, is a Chilean director and producer. She studied Film and Aesthetics. As a director, she has developed a particular style that is characterized by an intimate portrait of small worlds, and her renowned personal hallmark has made her one of the most important voices in Latin American documentaries. In 2011 she released his first feature film The Lifeguard. Through Micromundo, her production company, she directed her second film Tea Time, which has won more than 12 international awards and was nominated for Best Ibero American Film at the Goya Award 2016. In 2016, she premiered the short film I am not from here nominated for the European Films Award. In 2016, she also released her feature film The Grown ups receiving 10 international awards. She is co-author of the book Teorías de cine documental en Chile 1957-1973 (Documentary film theory in Chile 1957-1973). Her latest film The Mole Agent was finished in 2020. She received the “Chicken and Egg Award”. Maite is a Global Shaper, young leaders by the World Economic Forum (WEF), and a member of Motion Pictures Arts and Sciences (AMPAS). Her film The Mole Agent is selected for IDFA 2020 Best of Fests.