As has been reported here and elsewhere, Ted Leonsis, the co-founder of AOL and, more recently, a documentary film producer whose films include NANKING and KICKING IT, took the indie film world (and particularly the doc sub-genre of same) by storm last week by announcing the launch of a new docu-centered online/alt-distribution platform called SnagFilms, and the simultaneous announcement that SnagFilms would be the new owners of indieWIRE.
As the burgeoning deal came to light late Wednesday night, many indie film watchers were trying to make sense of the developments. One must qualify that because of the multiplicity of personal friendships involved, no one I spoke to wished anything but good for the new venture, particularly for the partnership with indieWIRE as well as hopes for more distribution options for documentary films. But that didn't mean there weren't questions, some of them obvious - like how, aside from a deep-pocketed benefactor (specifically one with some doc producing chops), would this online venture stand out from previous efforts?
Further, a jaded blogger/filmmaker/craft advocate might hope that SnagFilms would contribute to the growing focus on the filmmaking of nonfiction features - in addition to an admirable goal of advocating for films and causes (not necessarily in that order). The site's seeming focus on filmanthopy (as promoted by SnagFilms' founder) and social justice films may raise red flags among some filmmakers (including yours truly) who note that there already exists a substantial support structure for projects with an activist bent. While SnagFilms execs Stephanie Sharis and Andrew Mer told me that SnagFilms was interested in the "full breadth of documentary filmmaking", they also said that SnagFilms' mission involved outreach and a focus on films that are "on the front lines of new journalism".
One wouldn't want to dismiss "Filmanthropy" - a buzz word at festival panels over the past few years - outright. For one thing, it's a source of funding when other mouths of monetary flow have been stilled. Further, the ability of a film to shine a light on an issue oft ignored is a laudable goal. But after all the sturm und drang over Errol Morris' revelation earlier this year that he occasionally gives money to his subjects, is there no one raising an eyebrow over the increasingly direct link between some nonfiction films and charity? Has no one else been bothered by seeing "join our cause" or "sign our petition" or "go to the charity's website to give" in the closing credits of an increasing number of films lately?
Shouldn't the film itself spur someone to act by its skillful making rather than by proximity of a "donate now" button?
Regular readers of this spot know that I'm not arguing that we are journalists or that we are required to take an unbiased view of the world. Hell, advocate for your subject to your heart's content, with my blessing (not that you'd need it).
But - and this is just a theory, so be sure to treat it as such - if there was a downturn for docs last year, it might be argued that some art house audiences weren't interested in paying good money at theatres for taking their medicine. This may, in fact, be a great reason to advocate for what SnagFilms hopes to become. Films could be seen directly - and more immediately - by an audience limited not by their plans for a Saturday night, but rather only by their acceptance of SnagFilms' widget. Those looking for a "Women's Issues" film can seek one out, same for those in search of titles related to "Health" or the "Environment". Is it bad form to wonder aloud if instead of breaking films down by issues, we broke them down by style - Comedy, Drama, Suspense, Musical, Educational, Investigative, Cinema Verite, Reality - not unlike we do with the other film art forms. If we're trying to broaden the acceptance and/or definition of what nonfiction can be, should we not make clear that nonfiction is not solely (or primarily) about solving the world's problems?
So, somewhat unusually for my occasional commentaries: I'm going to end on a somewhat neutral note as I raise a cautious glass in toast to friends on all sides. Here's a hope that SnagFilms can indeed shine a light on great, neglected films, and on art generally, and bonus points if occasionally an issue or cause (or a great artist or an interesting character) gets attention in the process. And may the indieWIRE we've come to rely on for its editorial independence and have come to admire for its transparency gain everything it needs and lose nothing it has.
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