Part of the reason my guest, French filmmaker Boris Lojkine, has been so amazingly successful with his films, most recently SOULEYMANE'S STORY (2024), is his humility and understanding of how to portray people not like himself.

Instead of making a "Parisian film about a middle age couple in the crisis of existential bullshit" -- his words -- he has made feature films that depict the life of an immigrant. Paris was the setting for his latest film, but he wanted it to come across as a foreign ZIP code.

This was all borne out of his roots as a documentarian, and I am simply in awe of his story. And the fact that he eschews all social media. You're living the dream, Boris.

In this episode, Boris and I discuss:

• why he's gone beyond most French filmmakers to show France from the outside;
• how he got his start in filmmaking as a philosophy teaching, making two documentaries in Vietnam;
• how narrative films can lose the reality of documentaries;
• the reason immigration factors into so many of his stories;
• if he's the right person to tell an immigrants' story;
• telling the story of female protagonists in his films;
• how Sean Baker helped him get distribution;
• if he's disappointed that his previous films aren't available for streaming;
• what led him to create SOULEYMANE'S STORY and the risks he took in making the film;
• the documentary feeling in his films and how he handles actors;
• does he see it as a compliment that other people are making films with similar stories?
• what's next for him and how filmmakers should be more adventurous.

Boris' Indie Film Highlights: I ONLY REST IN THE STORM (2025) dir. by Pedro Pinho; A POET (2025) dir. by Simón Mesa Soto

Memorable Quotes:

"I started to make documentary films because my ex-wife was making documentary films and I saw how she was doing and I thought, okay, I will try to do my my own films too."

"I wanted to make films abroad. I was not interested in making a Parisian film about a middle age couple in the crisis of existential bullshit."

"There is the question of legitimacy and sometimes people, usually young people, younger people than younger than I am from, from another generation, they ask me, what's your legitimacy? And now I answer my legitimacy is zero. But because my legitimacy is zero, I have to work more."

"I have to listen, and I think the most important thing in my work is not to direct, but to listen."

"I was talking with a Congolese director. And my neighbor in the restaurant, he told me, oh, you are Boris. I watched your film yesterday and it's an incredible film. Let me talk to my friend Sean Baker, and he talked to his friend Sean Baker, who made a tweet. And the week after, we had a distributor, you know, sometimes you just have to eat Vietnamese in a restaurant."

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Every Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: CITY ISLAND (2009)

Director: Raymond De Felitta

Writer: Raymond De Felitta

Cast: Andy Garcia; Steven Strait; Julianna Margulies

SYNOPSIS

Prison guard Vince Rizzo (Andy Garcia) wants to quit his job to become an actor, but he also needs to make up for lost time with Tony (Steven Strait), a long-lost son who's an inmate where Vince works. When Tony is freed, Vince suggests the ex-convict move in with his wife, Joyce (Julianna Margulies), and their children. But because Vince neglects to tell his family that Tony is not just a stranger, but the son he fathered before he met Joyce, this leads to a series of comic misunderstandings.

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The king of the pushback -- it's a great title to have.

In today's podcast, I talk with filmmaker Adam Neuhaus, who helped put together possibly the best brand in documentary, 30 for 30, and then bet on himself, founding Neuhaus Ideas and then The Nonfiction Hotlist. The latter project has continued to grow. March 6th, 2026 is the deadline for the Yahoo x The Nonfiction Hotlist partnership, which helps give a home to short docs.

He is also involved in numerous nonprofits that help people get started in filmmaking, a sorely-needed boost when people need it to the most. That's the through-line of his career -- helping others. And much to his credit, pushing back on podcast hosts. That's my favorite type of guest.

In this episode, Adam and I discuss:

• why extending a ladder -- or an elevator -- to people starting their careers is important to him;
• how he practically makes it work running his own company as well as companies like Nonfiction Hotlist;
• his start in filmmaking and journey from William Morris to creating puzzles;
• 30 for 30's brand and what makes a great sports documentary;
• the issue of access in documentaries, especially sports;
• founding an "ideas" company versus running a production company;
• the amazing story of founding The Nonfiction Hotlist from a post on LinkedIn;
• why people were more amenable to accepting feedback as part of the application process of The Nonfiction Hotlist;
• sports films as part of the Hotlist and the importance of expanding your aperture about what a sports doc is;
• how film festivals actually work; Adam pushes back on the notion that a lot of it is determined by friends and pitching the programmers;
• why the Yahoo x The Nonfiction Hotlist partnership is such an important platform for short docs;
• what's next for him and The Nonfiction Hotlist.

Adam's Indie Film Highlight: The 2025 Nonfiction Hotlist

Memorable Quotes:

"If you're feeling bad for yourself, give to somebody else, be of service to somebody else."

"I decided to leave a...corporate job that I worked at ESPN for many years to give this a shot."

"You need to find something that works between projects."

"How do we find more durable systems for ourselves so that we stay accountable to ourselves, to the work we're doing? The only thing that I've ever seen really work in that way is consistency."

"We're building a puzzle community. We're trying to build a large community, and then we don't need corporate dollars. We then could be able to sustain ourselves as an independent company."

"I'm certainly entrepreneurial-minded. But it's certainly not easy."

"A great sports documentary goes beyond who won and lost the game."

"The projects that I'm less interested in are just the pure follow docs."

"I call it an ideas company because primarily I am not necessarily looking to run production services for my company."

"The challenge of a development company versus a production company is that development only gets paid when the project really comes to fruition."

"When did we all start believing that everything has to take forever in this business? It's actually not true."

"Fish your barrel before you start looking for generalized storytelling fans."

Links:

Follow The Nonfiction Hotlist On Instagram

Neuhaus Ideas

Yahoo x The Nonfiction Hotlist

The Nonfiction Hotlist

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Director, teacher, all around rebel Itonje Søimer Guttormsen premiered her latest film, the buddy comedy-drama BUTTERFLY (2026) at the International Film Festival Rotterdam, and came here to talk about the film, her career, and all the bad advice she got at film school for the podcast.

When you watch BUTTERFLY, you get the sense of an assured filmmaker at work: a close to two hour runtime that goes quickly and a work of art that doesn't feel like it was made by a committee. It was made by a truly unique voice.

In this episode, Itonje and I talk about:

• the world premiere of BUTTERFLY at the International Film Festival Rotterdam in February, 2026;
• what she wants them to feel when watching the film;
• how she decided to get into filmmaking;
• the best way to encourage rebelliousness in film students;
• why we can't see her directorial debut, GRITT (2021);
• her focus on depicting artists in her films;
• the strong female protagonists in BUTTERFLY and why we don't see more of that on-screen;
• the balance of following the script versus giving actors room to maneuver;
• finding female role models as a director and whether things are getting better for female stories;
• how she didn't make compromises in her films;
• incorporating spirituality into her films without turning it into a punchline;
• what's next for her and what she has learned about the process.

Itonje's Indie Filmmaker Highlights: Guy Maddin; Denis Côté; MAGIC FARM (2025) dir. by Amalia Ulman; Camilla Figenschou; Mariken Halle

Memorable Quotes:

"The audience [at International Film Festival Rotterdam] was, they're so attentive, they have a lot of questions and everything is arranged beautifully. So we had a blast."

"There's no hierarchy. Everyone goes to the same party. You speak with short filmmakers, you speak with distributors or festival assistants."

"I felt so many of the things I learned was wrong, kill your darlings. Less is more. All of this bullshit that I don't believe in."

"It was my first feature feature film idea. It came in 2008. So I've been working with this for 18 years."

"I think the sibling relationship...it must be the most defining relationship we can have." 

"I always felt that there's my way or no way for me."

Links:

Hollywood Reporter Interview With Itonje

Follow Mer Film On Instagram

Andropia

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Every Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: OKIE (2024)

Director: Kate Cobb

Writers: Boris Lojkine; Delphine Agut

Cast: Kevin Bigley; Kate Cobb; Scott Michael Foster; Dan Johnson

SYNOPSIS

Louie, a lauded writer, returns to his dilapidated hometown after his father's death. Confronted with a deluge of people from his past, Louie is forced to reconcile with the stories he's stolen, twisted, or downright exploited for profit.

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I don't know if it's fair or not, but if you're going to launch a service made up of Oscar nominated films, you have to have a background in making great films yourself to make it work. My guest today, director Alejandro Vilpa, is pushing forward with both: a streaming service called Vilpa Max that is now available in the Middle East/North Africa region and the UK for award-winning short films, and also going on a festival run with THE UNDERTONE OF DAVID JENSEN (2026), a sumptuous film about the struggles of a violin soloist.

He put it together with the help of the Czech and Mexican governments, not an easy task, and now goes on to launch a streaming platform!

It takes guts. Let's celebrate that today with Alejandro.

In this episode, Alejandro and I talk about:

• how he launched Vilpa Max, a new platform available in the Middle East and the UK for award-winning short films;
• his start in filmmaking and what led him to starting his own streaming service;
• why the distinction of award-winning films as part of Vilpa Max;
• what's the pitch for an Oscar nominated short to wind up on Vilpa Max?;
• his advice for nominated filmmakers right now;
• the need to create high-quality films of your own if you want to attract those kind of filmmakers;
• the story behind THE UNDERTONE OF DAVID JENSEN (2026);
• how he handled the music playing in the film from actors who didn't know how to play the violin;
• putting together a film assisted by both the Czech and Mexican governments;
• "short films don't matter" -- his thoughts?;
• what's next for him and when Vilpa Max will launch in the United States.

Alejandro's Indie Filmmaker Highlight: Malachi Marlan

Memorable Quotes:

"It's all about the team that I got. I got all the best team that I could have with what I had."

"Most of us artists, we struggle to find out what's next, right?"

"I found there was...these films from the Oscars and Cannes Film Festival. They won and nobody knew about them. Why?" 

What's the pitch for Vilpa Max to filmmakers? "We make them make money with their films"

"I like to say we are all David Jensen."

"We're constantly scouting for new films."

"I don't think there's a single film in Vilpa Max that you would say, okay, that looks amateur."

Links:

Vilpa Max

Follow Alejandro on Instagram

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Director and filmmaker Miguel Angel Ferrer did something truly remarkable and breathtaking in his film, THE SHADOW OF THE SUN (2023). Not simply that it's Venezuela's entry into the Oscars or he shot the film in his home country of Venezuela, although that's fantastic in its own right. When you hear the story of how the film came to be, through the radiant cinematography or the work of a 65 year old cameraman, you get an understanding of what a passion project this was for him. You understand why he imbued every single character in this film with their own backstory and meaty roles. I felt like I could understand every person in this film because of the care he gave them, and that's rare indeed.

Venezuela is in the news for things other than filmmaking, but that doesn't have to be the case. Let's appreciate the true artistry of filmmakers like Miguel.

In this episode, Miguel and I discuss:

• the radiance of the film and how it shows people what life is like in Venezuela;
• how the global news stories about Venezuela turned a spotlight on the country and its filmmakers;
• film school in Miami and how the city should be viewed in indie film;
• how his 11+ shorts led into this remarkable feature film;
• taking jobs you might not expect as a hidden strength;
• how he manages two companies -- Magic Films and Multi Movie Studios;
• what he's looking for in a director;
• how somebody should feel watching THE SHADOW OF THE SUN;
• why he imbued so much life into each of his characters in his film and why that's so rare;
• his commitment to shooting the film in Venezuela and what advice he'd give others on the process;
• his powerful answer about inspiring future Venezuelan filmmakers;
• how he got the nomination for Venezuela's entry to the Oscars;
• what's next for him, including a remake!

Miguel's Indie Film Highlights: Jeff Nichols; THE SEA INSIDE (2004) dir. by Alejandro Amenábar; J.A. Bayona

Memorable Quotes:

"What's been happening lately obviously puts a spotlight on Venezuela, a gigantic spotlight on Venezuela, and people start doing the research and start asking the right questions, they find a lot of truth that they didn't know about."

"As a filmmaker, you have to grab...the cards that life gives you and play them as best as you can."

"Everybody wants like instant gratification and everybody wants the David Fincher career, the Nolan career. Whereas Nolan never had to do a commercial or a music video."

"I want them to see themselves in these characters."

"Having done verticals and having done a movie for a studio very rare nowadays does a movie get made that is not by committee meaning you have to adhere to something that the studio needs to be done or that the producer, the production company, needs to get done."

"This one was one that when I got the kernel of the idea, it pulled me. I couldn't stop thinking about it. It pulled me and it pulled me, and I couldn't let it go until it was done on the page."

"That's what we wanted to capture in the film, the Venezuelan spirit."

"The moral of the story there is, listen to your girlfriend and to your mom."

Links:

Follow Miguel On Instagram

Miguel Ferrer's Website

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Every Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: MADELEINE COLLINS (2021)

Director: Antoine Barraud

Writers: Boris Lojkine; Delphine Agut

Cast: Abou Sangare; Alpha Oumar Sow; Nina Meurisse

SYNOPSIS

Judith leads a double life: two lovers, two sons in France and one daughter in Switzerland. Entangled in secrets and lies, her lives begin to shatter.

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Most of the time, I'm hoping my guest will be a great one to have on the podcast, but with director + editor Sara Barger, I knew. She was an instructor as part of my documentary certificate program -- COVID killed the program -- but I got so much out of her thought process on how to make films. So when I saw her name listed prominently on the poster as the editor for her new film, DAD GENES, I knew I'd love to have her on the pod. I'm glad she agreed.

As you hear in the intro, we talk about women in film and the lack of representation, as Sara served as president of Women in Film & Video, and through our conversation, I say she's forceful...because she is. But as I came up with that intro, I reflected on that: is that an attribute I'd give some guy? No. Because he'd be just being a guy.

So a better way of putting it is Sara is how all people should be in film, regardless of gender: fierce advocates for their art.

In this conversation, Sara and I discuss:

• her name being next to the director and producer on the poster;
• the story of DAD GENES and what the premiere was like in NYC;
• how she got her start in filmmaking;
• should directors know how to edit?;
• do you need to have a forceful personality to be a great editor?;
• looking back on her film, LITTLE BUT FIERCE (2020), and what she learned from it;
• finding issue areas to pursue as a documentary filmmaker;
• the quick 60 minute+ run time and her support for short feature docs;
• whether she loves the producing job -- on ads, yes; on films, no;
• progress on women in film;
• what's next for her and innovation in political advertising.

Sara's Indie Film Highlights: THE SOCIAL DILEMMA (2020) dir. by Jeff Orlowski; THE GREAT HACK (2019) dir. by Karim Amer and Jehane Noujaim; THE LAUNDROMAT (2019) dir. by Steven Soderbergh

Memorable Quotes:

"I don't think most people realize this, but when it comes to documentary filmmaker, the editor does a lot more than just piecing it together."

"It was my first time seeing it with an audience. It was my first time seeing it on a screen larger than my laptop. And so I kept being like, oh my God, it looks so good. It sounds good. Okay, this is like a real movie."

"I was the kid who was making all the neighborhood kids perform in backyard plays for our parents growing up."

"The best people on set are the ones who know how to do everyone's jobs."

"Yeah, I can edit this film, but you have to let me do my job."

"When I'm in pain, when my back goes out, there's not enough weed on this planet."

"The second you stop recording is when they say something amazing."

"I have a ADHD, I'm like, come on man. We gotta keep this moving."

Links:

Sara Barger's Website

Watch LITTLE BUT FIERCE (2020)

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It shouldn't surprise you that somebody who is out looking for "weird stories that connect and resonate" would direct DAD GENES (2026), the film about a sperm donor meeting his biological children. Craig Downing has been around the world looking for great stories and when he finds one, he sticks to it, no matter the time it takes to tell. DAD GENES took almost 7 years from idea to festival fruition, and that's a big credit to his team. Matt Isaac did a fantastic job producing as well as developing a festival schedule -- the film had its world premiere at Dances With Films NYC -- and Sara Barger put all this together with phenomenal editing skills.

I know Sara -- she was one of the excellent instructors at my George Washington documentary film certificate program -- and the kind of teamwork that puts the three of their names together on the poster for DAD GENES is the kind of team I want to have on the show. I'll talk with Sara for the next episode.

DAD GENES is a film that's worth a close look, for what it says about American society and the tremendous team that put it together.

In this episode, Craig and I discuss:

• the crazy over half-a-decade path to making the film;
• how he got started in filmmaking -- as a kindergarten teacher! -- and then off to Latin America and Iceland filming messaging videos for non-profits;
• if people have to go the influencer router versus what he did to get started;
• what brought him to documentary?
• the story of DAD GENES and what people should expect when they watch;
• how they took seven years of footage and made it understandable;
• the improvement of his skillset as filming went on;
• the state of documentary and the quick ruintime;
• what he's working on next.

Craig's Indie Film Highlight: POW WOW (2016) dir. by Robinson Devor

Memorable Quotes:

"And Matt [the producer of DAD GENES] called me and he was like, hey Greg, do you know any directors that might be interested in working on this? And I was like, yeah, Matt, me."

"If I took a video of someone walking out of Trader Joe's with avocados, they'd be like that's a pretty good shot, Craig, whatever. But if I took the exact same context of someone walking out of a Guatemalan market with a bag of avocados, you're like, whoa, that's amazing." 

"It is not necessarily just documentary, it's for me...where is the story?"

"My producer and publicist is we gotta tell 'em something about the movie or that they're not gonna know what's going on. Yeah, okay, that's fair, but don't play all the cards."

"I felt like if you watch this movie, you see the development and the maturity of my ability to make interviews happen."

"I think the runtime will be dictated by the story."

Links:

DAD GENES Website

Follow Craig Downing On Instagram

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