Films on the Federal Stage: A Conversation with Brad Forder, Director of Programming for the D.C. Environmental Film Festival

A conversation with former Common Home editor, Marion Cassidy, COL ‘23

How did you first get involved in the intersection of the environment and films?

I think it’s a common response with film programmers, but I fell into the position. Ten years ago I had just finished graduate school in the UK at Cardiff University and was planning to pursue a career in journalism. I was pretty intent on finding work as a newspaper reporter, which now that I look back, wasn’t the smartest career choice given the unfortunate decline of newspapers. Before graduating, I helped out a friend who was shooting a documentary for a school project and I was immediately hooked on the idea of becoming a documentary filmmaker. I liked the creative aspects of using a camera and editing, and I could still put my college-earned journalistic and research skills into use interviewing. I found a semester-long program in documentary filmmaking at George Washington University and came back to the U.S. to give it a shot.

The longer I was here in Washington, the more filmmakers I met, and I soon realized that this city has a sneaky-great filmmaking community. So, I stuck around, started freelancing in video production work, and also made a couple of independent short documentaries with a classmate (who, on a side note, I also married!). It was during that time that I learned of a position at the Environmental Film Festival in the Nation’s Capital (DCEFF), and then a few years later, I had the opportunity to lead the programming team. It’s interesting now to look back at the road that got me here. Ten years ago, I didn’t even know working for a film festival was a thing, and I’m grateful that it led to DCEFF. 

What is your specific role in the environmental film festival? What does programming a film festival entail?

I’m the Director of Programming for the Festival. In that position, my primary responsibility is to oversee the research, review and selection of films that are screened every March throughout Washington, D.C. Before each Festival, I watch about 300-400 films (shorts and features) and from those, we usually invite over 100 to take part in the Festival. I also have review assistance from staff and a volunteer screening committee which help immensely. Once a film is selected, we build a discussion around it, inviting filmmakers, film subjects and thought leaders on the environmental topics presented.

DCEFF’s programming is unique in that a large portion is a collaborative model, where we co-curate most of our screenings with other organizations throughout Washington, D.C., who also host the events. This can include museums, embassies and universities (including Georgetown University). This past year we hosted screenings at over 20 different venues throughout Washington, D.C.

The job also takes me to other festivals around the country, which is important for scouting films and for networking with other programmers and filmmakers. That is an aspect of the job that I missed incredibly during the years following the start of the pandemic!

What do you think constitutes an environmental film (whether that be content, form, etc.)?

One of the aspects that I appreciate about our Festival is the broad approach to environmental topics. I’ve heard our founder address this using an Albert Einstein quote: “The environment is everything that isn’t me.”

We program films on a wide range of relevant issues from topics like climate change, conservation, advocacy, and environmental justice, to films focused on the built environment and its effects on the planet. In addition to addressing concerns within the US, we look abroad as well – international films are a large part of the lineup. 

When considering films for the Festival, we are also looking for a variety of film styles. While most of the films we screen are documentaries, we welcome fictional narrative films as well. If you look through our lineups, you’ll find the traditional didactic and essay films, as well as observational and experimental films. We also keep in mind family and children-friendly content, including animated work. 

My hope in offering a wide array of topics and film styles is that we are reaching a variety of interests and broadening our audience.

What specific qualities does film have that lend it to environmental messages?

Storytelling, in general, triggers our emotions as humans and can inform the way we process information, and lead to lasting impressions. Film is an especially powerful form of storytelling because it taps into our senses (auditory and visual) and creates emotional connections to people and issues which in turn can inspire audiences toward further action.

What challenges are there in environmental filmmaking?

A common question that comes up in our screenings is how to find optimism and hope when confronting daunting environmental issues. I think the biggest challenge in presenting these stories is how to represent them in a digestible way, without sugarcoating the issue. During my ten years at the Festival, I’ve seen more filmmakers frame their stories with solutions-based approaches as a way to insert hope. I’ve also seen more character-driven treatments over recent years; focusing on individuals making a difference on behalf of the environment is incredibly inspiring as well.

How have the Festival and environmental films evolved/changed over the past decade?

It’s an interesting question to think about because the foundation of the programming approach has effectively remained the same over the last ten years. It actually goes back as far as to its founding in the early ‘90s by Flo Stone. Her goal was not just to educate and inspire, but also to collaborate. In 2022, the Festival celebrated its 30th anniversary. As part of the planning, I went back into our archives and reviewed previous film lineups. I was interested to see all of the different partnerships that have been formed over the years.

But, while the original collaborative model of the Festival remains, one difference I’ve seen over the last decade has been primarily related to the enhancements of filmmaking technology – the iPhone in my pocket shoots better quality video than clunky camcorders we were using back then! I’ve also picked up on a larger number of filmmakers addressing environmentally-focused issues, which coincides with the increasing mainstream media coverage – in general – of climate change and other relevant environmental topics that we now see – although still not enough!

What does it mean for this film festival to be in DC?

I often joke that most of the audience members attending DCEFF could serve on the panels/Q&A that we program, or even be featured in the films themselves, but it’s not far off. Hosting a film festival in D.C. means that you are going to draw an educated crowd on the issues presented in the films we screen. Many filmmakers comment on the in-depth questions that our post-screening Q&A elicits.

Hosting a festival in Washington, D.C., also means we can’t look past the obvious, looming presence of Capitol Hill! From the filmmaker’s perspective, many films are created with calls to action, specifically targeting the interest of legislators. So, they are keen on some type of conduit between a screening and the Hill. It’s not uncommon for us to directly approach members of Congress to take part in programs, and our proximity also lends itself to staffers and other influential Washington players occasionally dropping in on screenings.

One of my favorite “D.C. moments” took place at a screening hosted by the Smithsonian National Museum of Natural History, a long-time partner. Following the program, I noticed that the filmmaker was deep in conversation with an audience member. When I recognized who he was, I quickly tried to make my way across the theater. By the time I got to the filmmaker, the gentleman had left. The filmmaker was impressed with the man’s interest in the film but didn’t recognize him. When I told him it was a Supreme Court Justice, he was so blown away, but also wished he had known in the moment!

What do you want people to learn about the environment and sustainability from the festival?

The mission of the Environmental Film Festival in the Nation’s Capital is “to advance understanding and stewardship of the environment through the power of film.” It’s my hope as a programmer to help further that mission by presenting films that inspire and educate but also resonate with people after they leave the theater and lead to action on behalf of the environment.