IN DEPTH: The 25 Top Film Festivals For Documentaries

The 2nd Edition of the Top 25 Film Festivals for Documentaries is now available, with more than 75 filmmakers and industry pros weighing in.

You've just completed your film.  Now it's time to decide which festivals to target.  Maybe all along you were planning on Sundance.  Hell, you built your entire post-production schedule around the Sundance deadlines!  Maybe you get in.  Maybe you don't.  Either way, you're about to make your next festival decision, and another and another.  And beyond the big ticket festivals, the ones where acceptance is supposed to be worth its weight in distribution gold, there's an endless stream of festivals to navigate.  Where should your second screening be?  Should you wait to hear from Tribeca?  And what about that random festival that you've never heard of but assures you a great time and a free ride?

As True/False gets underway today in Columbia, Missouri, these questions become even more prevalent.  In the next 60 days, five of the the top 10 festivals for documentary will unspool.  It's the spring nonfiction juggernaut and it must be navigated.

Over the past month, we've been soliciting thoughts on the world's top documentary festivals from a variety of filmmakers and industry figures.  We combined their honest takes (anonymity was assured) and our own research to form what we hope will be an annual survey of the 25 Top Festivals for Documentary Films.

A caveat:  As this blog's POV tends to reflect our own geographic position, this list will necessarily focus more heavily on those films that are most readily available to our North American readers and festivals from this continent will dominate this list. 

With that out of the way, here's part one of our 2008 take on the 25 Top Festivals for Documentary Films. 
Presenting the top 10:

1. Sundance Film Festival

Our take:
No other festival of its scale presents a documentary slate as equal to its narrative films.  Getting accepted at Sundance automatically means that you have entree to buyers and national press attention that far outpaces any other fest.  Also nearly automatic is a healthy festival run, even if things don't go your way, distribution-wise.  Everything else you've heard is true, too - the nonstop parties, the swag, the occasional difficulty getting heard.  But the press and industry folks are here to see movies, which is not always the case elsewhere.  The downside: expectations are super high.  If you can't make a splash at Sundance, you may find that your film's life is as thin as the air in Park City.

Others:
Industry:
"Brutal, hierarchical, difficult to connect.  Sadly essential for US because it's a magnet."

Filmmaker:
"Out of bitterness I'd love to chime in with criticisms of the festival, but let's face it -- it's the best and most visible forum for American documentary film.  There's no better way to sell a film than to be in Sundance, and documentary filmmakers there are treated neck and neck with narrative filmmakers.  Who wouldn't want to be at Sundance?'

Industry:
"Has the best + most consistent doc line up (20 yrs of doc support makes them #1 in my book) + programs a world doc section that's pretty kick ass."

Filmmaker:
"Getting into Sundance is a "dream come true".  It is a historic festival and it makes you proud to be selected. Also a sudden energy comes from mixing fiction and documentaries and here you have the chance to meet A LOT of interesting people. Sundance is really a "market" and here it also becomes clear to you that you have made a "product" to sell. That is not entirely bad, you just need to realize that. The festival is big and you use a lot of time on transportation but it is set in the most beautiful area in Park City. You would like to bring some friends or co-workers. You would feel alone otherwise. GREAT Parties and very well organized in spite of the size of the festival!"

Filmmaker:
"Despite all the political bullshit that everyone whines about (which is usually just sour grapes), and despite the fact that for many years Sundance has hypocritically celebrated lots of films that were anything but "independent" (HBO is indie?), and despite the fact that celebrities suck, Sundance is STILL king. There is simply no better festival to premiere your feature doc at, in terms of press, distributor attention, hype, celebration and long term career benefits. They've put docs right up on par with all the dramatic features ever since the very beginning of this festival and you just have to give them praise for that. (and c'mon, most of those indie dramatic features are horrible anyway).  But beware: don't think just because you were one of the 16 anointed docs that you've "made it."  You still have to get a rep and work the system in the worst way to make it truly beneficial.  At least 90% of all Sundance filmmakers go home after the event and get fantastically depressed because they still have no distribution. It is a myth that you "get distribution" at Sundance.  You have to MAKE that happen, wherever you are.  If nothing else, just by premiering at Sundance, you'll get invited to dozens of other good festivals.  The awards show is stupid, but what one's aren't?"

2.  Toronto International Film Festival

Our take:
The second biggest stage for documentary filmmaking, but caution, getting the attention of press and buyers is not automatic like in Park City.  There are lots of other fish to fry in Toronto, including a raft of Oscar hopefuls in the big narrative premieres, and most critics and film writers are inclined to focus on those films than on the doc lineup, particularly when there's not a competition element to the nonfiction titles.  Still, everyone in indie film (and then some) are in Toronto for the fest, and the industry contingent can actually be bigger than Sundance, particularly in opportunities for foreign sales.  Just know that you're going to have to work double hard for less results.

Others:
Filmmaker:
"Proud to have been there and of course would go again in a heartbeat, but felt overshadowed by bigger films.  The audiences are smart and very respectful of docs.  It would be great if they created a "House of Docs" type of forum to nourish their documentary filmmakers."

Industry:
"Too much of a market to make it worthwhile for a doc premiere unless the only goal is to sell the film to an international distributor."

Filmmaker:
"Obviously, Toronto is a great place to premiere your film because it's just so huge and internationally-prominent. But despite Thom Powers proactive championing of great docs, and his efforts to give them a bigger presence there (like they have always been at Sundance), make no mistake: Toronto is better suited for big dramatic films, stars, press, and red carpets. If you're going into town with a full-power invasion, it's great. If you're just lucky enough to premiere your doc there, but don't have a lot of money backing your arrival, you'll feel neglected. The festival is spread out all over Toronto (great city) but that discourages community. If it weren't for Thom Powers' social skills, I never would have met another filmmaker the whole time. The staff are also too overwhelmed by the sheer number of films to really care about you and yours. Welcome to the big city."

3.  IDFA

Our take:
The 800 lb. gorilla of international documentary festivals.  IDFA is a fantastic place to meet other filmmakers, screen lots of international films that may never make it to the US and potentially meet commissioning editors.  But make no mistake, it's huge.  You may spot HBO's Nancy Abraham in the smoky cocktail hour that the festival hosts each day, but so have more than 200 other filmmakers.  Get in line.  Or maybe don't, since she's already running for the exit.  The pitching forum is legendary and often brutal.  The mandate to focus on films from around the world can lead to some painful viewing experiences.  And the fest tends to leave you alone, which can be good or bad, depending on whether you want the festival to help you make contacts (if so, you'll need to ask).  But there's a comaraderie and bonhomie that is often lacking at other fests.  Plus, it's Amsterdam.

Others:
Filmmaker:
"Pretty fun, great films. Too many though. Excellent for selling to TV. North American theatrical buyers don’t come. They should. Doesn’t take itself to seriously which I like. Most amazing setting for a film festival in the world (in my opinion). They’re tight towards filmmakers and don’t look after them too well."

Industry:
"Big Kahuna of doc fests, very friendly (if smoky), extremely convenient setting, many opportunities to connect, extremely gracious and helpful staff to facilitate connections."

Filmmaker:
"I was very well taken care of when it comes to accommodation. Amsterdam is a fantastic city and lots of opportunities to party! The festival is so big that you will benefit from being a group of people there or else you might feel a little alone. The Audience is fantastic and very passionate. They love documentaries in Amsterdam. All in all do not miss this festival if you want to know what is "going on" in documentary."

Filmmaker:
"The audiences speak better English than the American filmmakers presenting their docs."

4. SXSW Film Festival

Our take:
One could watch the doc lineups from Sundance and SXSW and get a pretty comprehensive idea of what's happening in the world of nonfiction filmmaking.  But whereas Sundance may weigh more heavily on the side of serious topics, SXSW lets its hair down with what is probably the most diverse line-up of all the major full spectrum festivals.  Huge industry presence, but don't necessarily expect them to show up for your film, not when the weather's this nice and the margaritas and queso are so nearby.  The biggest gripe against SXSW is that is by far the most stingy amongst the major fests.  You can expect to pay your own way with little to no support from the fest.  But if you decide to go anyway (and you should), it's one of the most fun of all the festivals and the opportunities to meet other filmmakers and the occasional industry contact are plentiful.

Others:
Filmmaker:
"Great audiences at 10am on Sunday morning.  I seriously thought nobody would show up and then the theater was almost full.  Austin is great, too."

Filmmaker:
"After seeing such mediocrity (and worse) in Park City, my esteem for SXSW has been raised immeasurably."

Industry:
"Has super fun americana + music themed docs but lack of press + industry coverage on a broad scale makes them less enticing for filmmakers to have a world premiere there. They also don't take care of their filmmakers the way other fests do (flights + accomo) which is a problem."

Industry:
"I've been impressed with sxsw's doc line-up. it's brave and bold and fits in well with their narrative programs."

Industry:
"As awesome as it was, I felt it was a little too "nichey", almost as if they went out of their way to exclude certain doc' films and filmmakers. I appreciate their angle of Ameri-specific/ alt-american
docs' though. I think it's a formula that works extremely well but perhaps a little more would go a long way."

Filmmaker:
"SXSW is nice mix of business and pleasure... which I think has bled over from the long-running music festival. The programming here seems to be getting stronger and stronger. My only gripe would be lack of resources from the festival to travel invited filmmakers there (i.e., no airfare or hotel money). And it would be great if the music and film fests were more integrated."

Filmmaker:
"Out of all the festivals this is the one i had the least contact with the organizers, publicists etc... i guess we were lucky that the people responded otherwise i may have been frustrated."

Filmmaker:
"I like the laid back environment of sxsw. Lots of interesting and innovative filmmakers."

Filmmaker:
"Love everything about this festival except for the fact that they don't pay for nuthin'.  No airfare, no hotel, and this is because it's all tied in with the far bigger SXSW convention, so you always feel like the film festival is the little brother to the mega music festival. Whatever you do, don't make the mistake of showing up to promote your film near the end of the film fest, when 30,000 black-n-flannel wearing guitar-wielding alt rockers descend on Austin for the music fest. You'll stand in line for 4 hours for a bag and a badge that might not exist and suddenly nobody's ever even heard of a film festival.  HOWEVER-- I still love the SXSW FILM festival.  Despite the convention-like atmosphere, Matt Dentler is building a great thing. The atmosphere (during the fest itself) is supportive, very laid back (in a good way), and there are plenty of distributors running around and drinking tequila. Best mexican breakfasts of any festival on the planet. Great vibe."

5. AFI Silverdocs

Our take:
Has quickly become the most important US doc-centric festival, particularly in an age that puts a premium on theatrical potential.  Has a wide and diverse line-up, notably shining a spotlight on both social issue films as well as "less serious" topics.  There is a large and important conference that takes place simultaneously with the festival that can appear daunting from a distance and even more baffling up close.  Filmmakers are not necessarily encouraged to know, understand or effectively utilize this aspect of the fest, which can be problematic as although there is a huge industry presence, you may not have any idea on how to find them.  The AFI Silver Theatre, which hosts the fest, is one of the best theatres in the country.  Your film may never look this good again.  Lots of social events at which one can meet and hang out with other filmmakers.  Shockingly convenient to get around.  The hotel is a block from the main venues.  Great opportunities to meet other filmmakers.

Others:
Industry:
"Great connections with industry growing by the year. Good conference (she said objectively, having been on panels there). Love the programmer Sky Sitney. Convenient location, lotsa restaurants around good theaters and conference facilities at Discovery."

Filmmaker:
"It was great.  There's a real respect for documentaries, and it feels like a community, while at the same time there's enough visibility to not feel ghettoized."

Filmmaker:
"A bit boring really. Doesn’t seem to offer anything original. The festival basically has no personality. I was disappointed by it. Good films generally. It’s carefully programmed by people that certainly know about docs by I kind of expect that from a premiere docs fest anyway."

Industry/exec:
"Silverdocs is really taking the charge in nurturing relationships with filmmakers and industry alike. i'm intrigued to see what they will pull out this year for their festival. I think they are poised to really do something special now that (longtime sponsor and next door neighbor) Discovery may be tightening those purse strings."

Industry:
"Although I missed it in '07, '06 was really good. It felt like a true doc festival in the sense that filmmakers arrived from all over the world, industry folks came from all over the nation and it was close to the topical imposing presence of our capital city. The town was big enough to offer some sense of 'getting away from it all' (if required) - unlike Full Frame where you see the same faces around every corner."

Filmmaker:
"Has a huge community built up around it and boasts what has to be the most beautiful theatre in America -- the amazing AFI Silver Theatre.  I think the fact that it takes place in the nation's capitol also adds quite a bit of heft to the proceedings."

Filmmaker
"Not a very good experience. Great hotel though. Not very well organized and not personal at all. I was fortunate to have friends there or else I would have been very bored. The parties where not that great and all in all it is a shame, beacuse it is a big festival and it is set in the capital and that should rub of on the mood of the festival, but it never does."

Filmmaker:
"We premiered at SilverDocs as their Opening Night Film, so they pulled out all the stops and went the extra mile for us. Very, very generous in flying us out, and putting us up for 5/6 days.  Screenings are amazing - theater is top notch, festival staff are great, very convivial, lots of easy hotel partying since most folks are in one place.  Really well organized, well run, well programmed, well funded festival.  Only wish is that their  "industry" stuck around a little more.  Festival programmers and some US tv people stayed a day or three, but the European commissioners were in and out of there in the blink of an eye. Literally flew in for their panels and left straight from the panel venue. Other than that, two thumbs way up."

Filmmaker:
"Wonderful festival, very supportive. Intelligent audiences-- great Q&A sessions, fun parties. The perfect size and number of days to celebrate docs. SO awesome to be with only doc filmmakers (no publicists and famous-actor sightings to suck the life out of you). Programmer Sky Sitney fully gets it. Here docs are allowed to have fun and the filmmakers don't have to be pretentious and self-serious, even if their subject is heavy. The tech factor is big, too: awesome theaters, great sound, and a staff who is friendly and cares about every detail. Highest recommendation."

6. Hot Docs

Our take:
One of the oldest and most respected documentary festivals in the world.  Hot Docs is also a conference and features a pitch session that rivals IDFA, but without the same level of acrimony that you often find in Amsterdam.  Heavy industry presence, particularly on the international front, but as in Amsterdam, if you aren't selected for the pitching forum it can be difficult to connect with commissioning editors.  Being a Canadian festival, Hot Docs has an affirmative action policy as it relates to Canadian nonfiction, which can lead to some disappointing screenings.  As at the Toronto fest, the local audiences support Hot Docs with something bordering on mania and the festival is exceptionally well run and organized with a breadth of topic and style on display. 

Others:
Industry:
"Canadian-centric, not a bad thing! Good forum/pitch session. Friendly, easy, well-managed, nice setting."

Filmmaker:
"Very, very cool.  The Festival literally takes over the entire city (Toronto) and the audiences are fantastic.  They go crazy for documentaries there."

Filmmaker:
"The film lineup is fantastic, and the Toronto audiences are very engaged. I really I liked this festival, the only drawback in my opinion is that it's decentralized, there's no meeting/hangout place for filmmakers."

7.  Los Angeles

Our take:
Like its parent organization, Film Independent (and also like Sundance), LAFF treats the documentary lineup with the same care that it does its narrative strand.  The richest competition prize of any festival - $50K for the winning filmmaker - and a decent amount of attention from LA-based press and national buyers.  Films actually get bought here.  The focus on premieres can make for a somewhat uneven line-up at times, although recent winners like DELIVER US FROM EVIL, TARNATION and BILLY THE KID showcase a range of styles and tastes without losing focus on quality.  The fest is notorious for its hospitality - filmmakers are flown to a pre-festival retreat at Skywalker Ranch - and its 2006 move to Westwood has been a huge success, both in creating a community and in differentiating LAFF from LA's other huge film festival, AFI Fest. 

Others:
Filmmaker:
"I can’t say enough about the The LA Film Festival.  I’m always encouraging people to screen there. It was the most filmmaker-focused festival on our run. They truly wanted to make sure that each filmmaker was having a good time, meeting the right people and getting the most out of the festival.  Even though it's a fairly large festival you don't feel like you get lost in the shuffle. The Filmmaker Retreat before the festival was amazing and sets the tone for the festival. To me, it’s incredible that they even offer it.   The festival also had a great industry presence.  We had distributors at all of our screenings and sold our film out of this festival."

Filmmaker:
"Filmmakers are treated very well, and lots of opportunities to meet other filmmakers at the retreat."

Filmmaker:
"The best treatment towards the directors!!! more then just a film festival but almost like a film retreat. The lucas ranch, directors guild lunch, meeting and spending quality time with the other directors away from the festival, meeting and connecting with established directors/producers in the industry."

Filmmaker:
"I don't think LAFF gets enough PROPS! Even though I like NYC better then LA as a place to live i would choose LAFF way before TRIBECA film festival."

Filmmaker:
"Didn't think the selection of films was so great. At least in my category but i guess that's what happens when you are more concerned with world premieres then quality films."

8.  Full Frame

Our take:
Normally, the granddaddy of US documentary festivals would rank higher on this list, but there's a huge wait and see attitude in 2008 with many wondering how the fest will survive this year's departure of Full Frame founder Nancy Buirski.  One veteran filmmaker wrote that the fest was one of his favorites, "though I'm afraid with Nancy gone".  There's no denying that since the fest is no longer "the only game in town", it's lost some of its luster.  Still, it's hard to argue with success.  An essential spring weekend for nearly everyone in the NYC documentary community (and an easy hop down to Durham) and a huge line-up of many of the best docs of the year.  The proximity of Duke (and a selection board littered with academics) focuses Full Frame on serious social issue films and has an awards line-up that almost exclusively focuses on topic, but it still finds room for a movie like HELVETICA.  Plus, it's an easy place to meet lots of folks, from first timers to legends, and it has a strong, doc-centric industry presence.

Others:
Industry:
"Gorgeous location, good films, gracious living, good celebs, not so much industry."

Filmmaker:
"Out of all the festivals I attended, I made more new friends and had more face-to-face contact with the other filmmakers at Full Frame."

Industry/exec:
"It seems the the power and prestige that full frame once had is evaporating. they've lost their gusto. critical support seems to be vacant as well. they seem more concerned with promoting their brands and nancy b's projects than helping doc filmmakers and filmmaking."

Industry:
"Perhaps due to the weather, perhaps due to over exposure in the market, the whole time I was there it felt like the festival was trying too hard to be something. I guess they had to match the previous years' successes. And in the end is too much success the downfall of a potentially great festival? Filmmakers, industry, writers all appeared to be waiting for something more. And all it did was rain some more."

9.  Tribeca Film Festival

Our take:
After a much-needed staff shake-up, new initiatives like the Gucci Doc Fund and enhanced web presence and the promotion of doc programmer David Kwok, Tribeca is looking to right a wayward ship in its 6th incarnation.  Last year's fest was much derided, what with increased ticket prices, far flung screening venues, lackluster titles and lack of communication with press, but Tribeca seems to be trying to right past wrongs, including lowering prices, scaling back venues and reaching out to bloggers.  This year could prove key.  While it gives a documentary competition prize, the prize money (25K) is half that of the narrative competition.  Still, it can boast this year's Oscar winner - TAXI TO THE DARK SIDE - and that's not nothing. 

Others:
Filmmaker:
"We premiered at Tribeca and they did a lot during the fest to get us exposure, but since the festival ended they’ve pretty much fallen off the map. I (get) the impression that other programmers do a lot more to promote the films they like and refer them to other fests."

Filmmaker:
"Big, bold, too many films really. Not a great market place and all spread out like a nightmare. If you’ve got a high profile film and A-list celebrities to work with, it’s incredible. Otherwise, don’t bother."

Filmmaker:
"Our experience was fantastic, but I do see how documentary filmmakers get lost in the big schedule, multiple venues, etc."

Industry/exec:
"OK but their enormous line up + confusing sections relegate docs to "red headed step child" status."

Filmmaker:
"Loved playing at Tribeca and were blown away by the sheer mass of humanity that come out for docs (our first screening there played to over 700 people)."

Industry:
"2007 sucked for docs IMHO. 2006 was a much better year. With industry wide general backlash against the festival in '07 I hope they pull their socks up and get back to grass roots. Tickets were over priced, the festival screenings were all over town, there was nowhere for filmmakers to mingle and relax, it felt like an American Express elitist event."

10.  True/False Film Festival

Our take:
The most convivial and intimate of the big US documentary festivals.  Puts a premium on quality and diversity over premiere status.  Most of its films have played elsewhere (although primarily films have come from Sundance or Toronto or IDFA) or are about to play SXSW or Tribeca and screen here as secret screenings.  The community (Columbia, MO) supports the fest in a way that shocks newcomers - this may be the biggest audience you'll ever have.  This year is a transitional one for the fest as it experiements with new venues and copes with the temporary closing of its largest theatre, but already the fest is on pace to shatter previous attendance records.  One of the most generous of all major festivals - everything, including food, is paid for.  An incredible opportunity for meeting other filmmakers but not much of an industry presence (although that may be changing).

Others:
Filmmaker:
"Great films, a tight little program of unusually high quality stuff. Great parties. Fantastic atmosphere and they really take care of all their filmmakers."

Filmmaker:
"Only been once but they have the most interesting line up of docs  often it seems that the same stuff swirls around the same handful of festivals - thats not the case at true / false  plus its a manageable size and feels much like family."

Industry:
"Loved it. But I don't want to tell everyone how great it was(!) for fear of it turning into another Full Frame. There is every reason why it will remain the boutique festival that it is. As an 'industry' person I felt guilty just being there last year. All the filmmakers spent so much time together I felt like a gooseberry intruding on artists and visionaries talking!"

Filmmaker:
"My personal favorite. This is a very small and intimate festival compared to IDFA and Sundance. Paul and David take you by the hand and leads you through the most amazing days. Parties every noght and thetres filled with enthusiastic audiences. It is truely amazing to have you film screening it the Missouri theatre infront of 1200 clapping people from the town. And the whole town really backs up this festival and you can feel that very much. You become the local celebraty within days. This festival is personal and intimate. It is the best festival I have been on thhis year. Do this for your own sake - and the food is free.  I love True/False!"

Next up: Numbers 11-20.

Update: Check out our unsolicited festival advice guide for filmmakers.

Comments

[Jason Scott]

Or, release it on DVD yourself and bypass all the politics!

*hugs*

[Thom Powers]

Of course, I'm pleased to see Toronto placed near the top. The feedback is interesting and hits the same points our festival is constantly trying to improve.

I urge filmmakers not to fret so much about where their premiere festival "ranks." Every fest on this list has great attributes.

I'm disappointed that the comments from filmmakers and industry are cloaked in anonymity. (This relates less to the comments about TIFF, than other fests). The more critical a blind quote is , the less reliable it feels. On D-Word, contributors routinely speak on the record about these things.

What makes a fest "the best" depends on your film. While one filmmaker has a great experience, another might have a lousy time at the same festival.

A festival is about more than just selling your film (though obviously that's important). It's also about gaining recognition and making contacts for the next stage of your career.

Wherever you get invited, make the most of it!

[AJ Schnack]

While I'm loathe to disagree with my friend and colleague Thom Powers, I must say that my impression of the responses I received was not the anyone had an axe to grind but wished to share information on their experiences to help others. I would love to say that I think the environment exists for filmmakers to feel free to express negative or contradictory opinions publicly, but I think that a great number of filmmakers feel constrained in this regard, fearing that offering a negative reaction might blacklist them from future festivals. I may not agree with this perspective, but I don't think that it's necessarily unfair to offer individuals and opportunity to express their feelings in an anonymous way.

[Steven Davies]

"Big Kahuna of doc fests, very friendly (if smoky), extremely convenient setting, many opportunities to connect, extremely gracious and helpful staff to facilitate connections."
Because of the fact that I liked your review I will bring you targeted traffic.
That way a lot of people will see it:)

[Tim]

Thank you for all of this WONDERFUL and POWERFUL information. Below I have included information on our film, which is in post-production. Thanks, Tim ([email protected])

MY RUN... 75 Consecutive Marathons in 75 Consecutive Days

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.............................. ............
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[jennie j]

OK, Hot Docs is a much more respected festival than AFI/Silverdocs, which is much smaller, and not nearly as established. I vote that Hot Docs be moved up to at LEAST the #5 slot!

[sharif]

Film Festivals And Awards
http://www.96blog.com/film-festivals-and-awards/

[Nori]

Sheffield should be number 5 here. It is one of the best in Europe around the top 5 with CPH, IDFA and Leipzig. Toronto
is really lame for docs. Have you seen the lineup this year?
terrible!!!
What about Big Sky?

[Haris Sheikh]

Hi ,
I have done my first independent feature doc, "The Blastphemy, about Danish
cartoons of Prophet Muhammad (pbuh) and a billion plus Muslim's serail outrage.
It also has a Canadian connection and a Gallup's firstever survey. More here
www.virgopictures.com
Now,I have submitted to festivals..Hotdocs,Silverdocs,Athens..
Cannes .Moscow..Aljazeera...
I find this list very useful .
Haris Sheikh
Producer
Virgo Pictures Inc.
174 Vanauley Walk
Toronto, ON,Canada