Hot Springs Documentary FF launches America250 screening series with UAPB
The Hot Springs Documentary Film Festival, in partnership with the University of Arkansas at Pine
The Hot Springs Documentary Film Festival, in partnership with the University of Arkansas at Pine
The critically acclaimed Hot Springs Documentary Film Festival announced the lineup of films and honorees
The 2025 Hot Springs Documentary Film Festival (October 10 – 18, 2025) announced details for
The critically acclaimed Hot Springs Documentary Film Festival presented by Oaklawn announced the lineup of
HSDFF Executive Director, Ken Jacobson, said, “In our 32nd year, we are underlining the high level of film programming that has made the Hot Springs Documentary Film Festival such a beacon for the best and most innovative filmmakers working in the documentary form today. In addition, we are incorporating dynamic new programs and events to enrich the audience experience and support the documentary filmmaking community. Our goal is to embrace the rich tableau of nonfiction storytelling and forge deeper connections between filmmakers, the people and place of Hot Springs, Arkansas and the broader world. We are thrilled to be launching these efforts alongside this year’s Honorary Chair, the extraordinary and beloved Arkansan, the multi-talented Mary Steenburgen.”
Regarding the new position, Jacobson said, “When I first assisted on interviews with legendary leaders of the Civil Rights Movement as an intern on the series “Eyes on the Prize II,” I knew, deep down, that I always wanted to return to the South to connect the paths of documentary film and great Southern storytellers. After serving 15 years in the film festival and documentary non- profit worlds, I feel honored and thrilled to be joining Hot Springs Documentary Film Institute as the new Executive Director.”
In the interview, I talk to Dean about his relationship with director Nathan Willis and what his role as producer entailed on RAP SQUAD. We also discuss the insecurity regarding their own insight and perspective that led to a desire by Dean and Willis, who are white, to find a black editor to work on the film. We also talk about ensuring that you don’t manufacture good guys versus bad guys who aren’t really there.
In the interview, I talk to Chen about how she found her subjects and gained their trust and willingness to participate in her film, as well as her approach with her subjects in terms of challenging them on camera when they would make erroneous statements about policy. We also talk about her filmmakers’ focus on getting the shot and the sound, even as an interview subject is propping up an AK-47 on a wall next to herself during an interview like it was a rake or something.
In the interview, Rios and I talk about the film being an “act of resistance”, as well as how the film also lends some insight into what is happening in this country at this very moment. We also talk about Rios’ relationship with the two main subjects, how that managed within the considerations of her own politics versus theirs, and how she approached filmmaking while hiding her own anger over the political machinations at that time.
In the interview, Dufton and I talk about the challenges in capturing what she needed for the film and managing that relationship throughout the filing process. We also discuss filming and moviemaking in extreme environments to not just get footage but to get it as safely as possible, as well as the tenuous nature of directing by webcam.