In the realm of filmmaking, the advent of mobile technology has revolutionized the way stories are told and visual narratives are crafted.

If you’re as old as I am, you’ll remember the advent of the digital democratisation of filmmaking. That was when, up to that point, only the Gods on Mount Olympus could possibly make films as they were the only ones with access to the filmmaking equipment required to do so. Now, we have all been bestowed the power of the Gods.

With a good story, science fiction, much like horror and fantasy, is a genre that has the capacity to transcend film festival programmes and find multiple homes online when the festival run is over.

Speaking to some of our clients (Mike Keaby // The Problem With Time Travel, Heather McQ // A Positive Contribution, Francis Tamburin // IRIS, and Ian Sweeney // Time Tourists) sci-fi scriptwriters are societies modern revolutionaries preparing their audiences with what the future entails. But how do we make it entertaining?

Nurturing the documentarians of tomorrow, filmmaker and LA Times Short Docs curator Nani Sahra Walker shares her wisdom and experiences.

How does the filmmaker and audience interpret documentaries? We ask feature doc filmmaker Riccardo Servini and Oscar-winner Ben Proudfoot.