IDA awards 15 doc projects grant money through two film funds

The International Documentary Association (IDA) has granted a total of US$245,000 to 15 films through its Enterprise Documentary Fund and Pare Lorentz Documentary Fund. Of the 15 documentary projects selected for ...
February 21, 2020

The International Documentary Association (IDA) has granted a total of US$245,000 to 15 films through its Enterprise Documentary Fund and Pare Lorentz Documentary Fund.

Of the 15 documentary projects selected for funding by the IDA, 86% are directed or produced by women.

Ten documentary projects have been selected by the IDA Enterprise Documentary Fund to receive $15,000 each in development grants. The fund supports documentary projects taking on “in-depth explorations of original, contemporary stories while integrating journalistic practice into the filmmaking process.”

The fund is supported by the John D. and Catherine T. MacArthur Foundation and the Jonathan Logan Family Foundation.

The IDA Enterprise Documentary Fund is currently accepting applications for production grants of up to US$100,000. The application deadline is March 1. Interested parties can click here for more information.

Elsewhere, IDA has chosen an additional five projects to receive grants totaling US$95,000 through its Pare Lorentz Documentary Fund. The fund, created in 2011 with support from The New York Community Trust, honors the legacy of American documentary filmmaker Pare Lorentz.

The IDA has provided more than US$3.6 million in grants through its documentary funds since 2017.

In addition, the IDA has entered into its first-ever collaboration with long-standing PBS strand ‘Frontline’ to jointly support Cassandra Herrman’s tentatively titled feature-length documentary, 11 Questions.

“Regardless of our booming field, with the vast distribution opportunities cropping up, development remains largely self-funded by independent filmmakers,” said Carrie Lozano, director of the IDA Enterprise Documentary Fund, in a statement. “We are committed to supporting filmmakers early in their process, even at the concept phase, to lessen the burden. This slate has a particularly investigative thrust, as these filmmakers unravel complex issues and phenomenon, and we are thrilled to announce that PBS ‘Frontline’ has already signed on to support 11 Questions.”

Enterprise Documentary Fund:

  • $huffle (Benjamin Flaherty, director; Carra Greenberg, producer)
  • 11 Questions (working title) (Cassandra Herrman, director/producer)
  • End of Land (Sara Dosa, director; Shane Boris, producer; Elijah Stevens,co-producer)
  • Impossible Town (Meg Griffiths, co-director/producer; Scot Faris, co-director/co-producer)
  • Magic & Monsters (working title) (Norah Shapiro, director/producer; Mark Steele, producer)
  • Storm Lake Untitled (Jerry Risius, director; Beth Levison, co-director/producer)
  • *Untitled Anonymous Project*
  • Untitled Dwarfism Project (Julie Forrest Wyman, director/producer; Shaleece Haas, producer)
  • Untitled Lerone D. Wilson Documentary (Lerone D. Wilson, director/producer; Andrea Mustain, producer)
  • Untitled South Sudanese Asylee Project (Amy Bench, director/producer; Carolyn Merriman, producer)

(*Due to the sensitive nature of its content, one project is anonymous.)

Pare Lorentz Documentary Fund

  • A Place to Learn (working title) (Kevin Shaw, director/producer; Rachel Dickson, producer)
  • Hope is a Hammer (Nicholas Bruckman, director; Amanda Roddy, producer)
  • Mississippi Red (working title) (Kelly Duane de la Vega, director/co-producer; Jessica Anthony, co-director/producer)
  • Socialism: An American Story (working title)(Yael Bridge, director/producer; Morgan Spector, producer)
  • That’s How We Roll (Sara Terry, director/producer; Alysa Nahmias, producer)
About The Author
Barry Walsh is editor and content director for realscreen, and has served as editor of the publication since 2009. With a career in entertainment media that spans two decades, prior to realscreen, he held the associate editor post for now defunct sister publication Boards, which focused on the advertising and commercial production industries. Before Boards, he served as editor of Canadian Music Network, a weekly music industry trade, and as music editor for As content director, he also oversees the development of content for the brand's market-leading events, the Realscreen Summit and Realscreen West, as well as new content initiatives.