Documentary Projects in Development for 2025–2026

As we wrap post-production on The Piccirilli Factor and The Art of Joy Brown, and prepare for their debut in select screenings at The Met and international festivals, I want to take a moment to share what’s currently under consideration for the 2025–2026 production pipeline at the Heritage Film Project and the Documentary Film Fund.

Making Stained Glass Lamps

Each year brings with it conversations—some brief, some enduring—with individuals and institutions interested in producing documentary films. These conversations are the soil in which our projects grow, or sometimes wither. The fact is: not every idea presented makes it through the initial stages of development. The actual execution—cameras, crews, travel—is arguably the simplest part of the process. The complex part is what comes before: research, reflection, feasibility studies, and honest conversations with ourselves and our board of advisors.

Before a film enters production, I take time to ask myself a few essential questions. First, is this a subject I’m genuinely curious to learn more about? That sense of curiosity is vital—it’s what sustains the long process of research and development. Then I consider whether I can translate what I discover into the language of documentary film in a way that will help others engage with the material and learn from it as well. Finally, I ask if the resulting work will contribute meaningfully to a larger ecosystem of knowledge—whether it has the potential to live on through academic institutions, cultural centers, public libraries, and museums. These questions help shape not only the films I choose to make, but also how I choose to make them.

The dream of a PBS, HBO, or NatGeo premiere is never out of reach, but it’s not the metric we hold most dear. Broadcast premieres are often fleeting. Our goal has always been longevity—to create films that stay in circulation, that become enduring tools for learning and reflection. Films like Julian Bond: Reflections from the Frontlines of the Civil Rights Movement, Che: Rise and Fall, Samba on Your Feet, and The Other Madisons continue to stream and be taught, year after year. That, to me, is success.

Some projects, despite all hopes, never reach the finish line. A film we once planned about Bolivian mining collapsed when the political situation on the ground made travel unsafe. Another—centered on a biographical subject—ended abruptly when we uncovered facts about his Nazi affiliations. Those moments are rare, but they serve to remind us how delicate the process is and how essential it is to proceed with integrity.

Looking ahead, here are a few projects actively in development or under serious consideration:

• The Ambassador: A film exploring Andrew Young’s time as U.S. Ambassador to the United Nations during the Carter administration. We have already completed a major interview with Ambassador Young. We’re now seeking support for additional interviews and post-production.

• James Farmer: A recent inquiry has reignited interest in a film about this central—but often overlooked—figure of the Civil Rights Movement. Alongside Julian Bond and The Ambassador, this would complete a documentary triptych that could serve educators and institutions seeking to understand the movement in broader scope.

• Edward Boccia: A biographical documentary on the prolific painter, poet, and WWII veteran from the Ghost Army, whose life story resonates deeply with themes of art, trauma, and resilience. This project continues to gain ground with our advisors.

• Tiffany’s Circle: Still in conceptual stages, this film would explore the women—artists and designers—who worked alongside Louis Comfort Tiffany in the creation of his stained glass windows and lamps. This project intersects with the same values that informed The Piccirilli Factor: to illuminate the lives and contributions of those who have long worked in the shadows.

We remain open to ideas and proposals that align with the goals and values of our mission. Each potential project is considered with care—measured not only by artistic potential or access to funding, but by whether it contributes to the kind of legacy-driven storytelling we strive to build.

Every one of these projects will require months—often more—of patient work before the camera ever rolls. And that’s how it should be. These are stories that deserve careful thought, deep research, and sincere commitment.

I’m sharing these notes with our subscribers in the hope they’ll offer a glimpse into what’s next—and why we choose the projects we do. I believe those who have supported and followed our work over the years will be just as interested in the questions we ask at the beginning of a journey as in the films that come out the other end.