Description

If you could highlight one person standing at the intersection of journalism and filmmaking, it would be my guest today, Diana Schemo. 11 years ago, she founded the Double Exposure Film Festival as a way to reach people, alongside journalism, and it’s been extraordinarily successful, in both the quality of films and its importance in the larger filmmaking and journalistic communities.

This year’s edition takes place October 30th - November 2nd, in Washington, DC, and it not only includes films but fantastic panels and a matchmaking platform for you to find funding and for funders to find you. Whether you’re a documentary filmmaker or you just care about making the world a little brighter place, Diana is here today endeavoring to do both. 

In this episode, Diana and I talk about:

• What’s changed in the 11th edition of the Double Exposure Film Festival since its start;
• How she started the film festival and why it is so vital for today’s world;
• What the process looks like each year for the festival in terms of accepting submissions;
• What kind of films *don’t* get selected;
• The difference between journalism and documentary filmmaking;
• Her thoughts on hybrid documentaries and new forms of docs;
• The saga of RETROGRADE (you can read more about it in the linked Washington Post article);
• How to balance corporate interests with the plight of working documentary filmmakers;
• How she feels about Washington, DC as the home for this festival;
• The amazing things the film festival offers beyond screenings

Diana's Indie Film/Show Highlight: THE SIX BILLION DOLLAR MAN (2025) dir. by Eugene Jarecki; TRADE SECRET (2025) dir. by Abraham Joffe; RIVER (2015)

Memorable Quotes:

“The universe in which these films operate has changed tremendously because at that time it was considered like a golden age for documentaries.”

“You are allowed to eavesdrop.”

I don't know what madness seized me to think that I would ever make money for the organization doing film festivals. Totally not the case. Do not do this at home, kids. It'll not get you there.”

“I saw it as like a great way to build awareness of investigative journalism as a driver of culture.”

“My feeling at that time was we think that we stand on such a solid foundation that we have the First Amendment, that we have libel laws, we have this, we have that. We don't. It's as only as strong as people who support it and believe in it.”

“And if they're not reading our 5,000 word takeouts on deficiencies in hospital inspections, maybe they'll watch a film about it.” 

“We used to just do by invitation only when we were starting out because that was the only way it was manageable. But I wanted to open it up because I thought we wanna see if there's new work.” 

"Filmmaking is very different from journalism.”

“No, I actually like weird. I like people who are creative, who are pushing the envelope.”

“We actually check out who’s funded the pieces.”

“ Sometimes with questions [regarding] representation, oh, is somebody on the film team actually from the community that you're telling their story?”

Links:

Double Exposure Film Festival

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