Chloe Sosa Sims, a Toronto-based director and producer, is a writer. Her feature debut, “Dan and Margot,” illuminated the complicated truths of schizophrenia. Sosa-Sims participated in the UnionDocs Documentary Lab and RIDM Talent Lab for her film about women in politics. Her work spans independent documentary, television, branded content, and narrative shorts for CNN, VICE, CBC, History Channel, Super Channel, TVO, Investigation Discovery, Oxygen, and A&E. Her previous work includes five year as Hot Docs’ Industry Programer.
“Hunting in Packs” is screening at the 2022 Hot Docs Canadian International Film Festival, which is taking place April 28-May 8. Find more information on the fest’s website.
W&H: Describe the film for us in your own words.
CS: The film focuses on the absurd and high-stakes institutions of western politics. “Hunting in Packs” follows politicians Michelle Rempel Garner (Canada), Jess Philips (UK), and Pramila Jayapal (USA) through elections, leadership campaigns, and their efforts to enact bold new policies.
I tried to use humor and subtle humor to highlight the political circus while simultaneously showing the very real stakes of being a woman in each position.
W&H: What drew you to this story?
CS. I was initially attracted to this topic because of my interest in the general lack in female representation in politics and what the barriers were to entering this space. I think on some level I’ve often fantasized about getting into politics — to have the confidence and belief in your individual ability to change systems, laws, and policies is spectacular. It inspires.
After I had met the women who became my subjects and was able to follow their stories, I became more interested in how these narratives reflected a greater truth. If you are a strong-willed outsider, women or not, going into politics with decisive goals – can you succeed? What are the things you must compromise on?
W&H: What do you want people to think about after they watch the film?
CS: I want them think of politicians as human beings first and foremost. I want them think about the ups, downs, and sacrifices that you make for your country and community. I want them to understand the courage and bravery it takes to enter politics – especially if you’re a woman or from any under-represented community. And I want people to walk away with an understanding and compassion for people of all political stripes; just because you don’t share the same values as someone, it doesn’t mean you can’t understand what motivates them.
I also would love people to consider the absurdity of our political systems at times, and how it really doesn’t encourage or even allow individuality.
W&H: What was the biggest challenge in making the film?
CS: Funding was a challenge, as with many films. Not having the funds to pay myself meant I couldn’t take much time away from paid work, meaning I didn’t always have the time I wanted to give to the film, and/or I wound up working all of the time. Still am! I realize this is a self-created dilemma, so I’m not trying to say woe-is-me. Filmmaking is a privilege. I realize this every day, and it makes all the hard work worthwhile.
Filming during the COVID-era wasn’t ideal. For example, I flew from Toronto and Seattle to film with Rep. Jayapal, returned that night, and was then quarantined for two weeks.
W&H: How did you get your film funded? Please share your insights on how you got the film made.
CS: This film was funded over a long period of time. We started with some development funding from the CBC Documentary Channel. The Canada Media Fund and Ontario Creates were also available. There were many hurdles to overcome when it came to financing production, including COVID. I was scared we wouldn’t have a film in the end.
The Hot Docs Ted Rogers Fund was one of our biggest saving graces. I also received a Canada Council for the Arts grant soon after. Super Channel joined the film crew before we were done, making us eligible for tax credits. In the 11th hour, the National Film Board Filmmakers Assistance was available, which was exactly what our film needed to finish.
W&H: What inspired you to become a filmmaker?
CS: I had been to film school and I loved the creative process involved in making content. However, I never thought that directing could be something I could do or that it would be something I could succeed at. It was only when I was working at Hot Docs as an Industry Programmer that I met directors and producers and I realized they weren’t unlike me. They didn’t have special powers.
And then an opportunity came along to tell my friend’s story in “Dan and Margot” – the first film I made and co-directed. A childhood friend was diagnosed as schizophrenia. I was moved to share her story because of the stigma she had to endure and her courage.
W&H: What’s the best and worst advice you’ve received?
CS: When I quit my job at Hot Docs to pursue filmmaking and directing, a producer I knew told me it was a terrible idea – to set myself up for emotional and financial struggle. This was both the worst and best advice I’ve received. He was right — the emotional and financial struggles have been real at times.
When I first started in the industry, I was naïve. I was naive and jumped into many different creative endeavors believing I could do it all. I had to learn from my mistakes and spend time on projects that didn’t work out. But I don’t regret any of it. I’m happy in the place I am now; I’m super proud of “Hunting in Packs,” and I feel good about the direction my career is heading in. So, I say embrace the naiveté while it’s fresh. Do you know anyone that regrets taking a chance? I can’t say I do.
W&H: What advice do you have for other women directors?
CS: I don’t feel like I’m in a place to give advice. I feel like up until a month ago, I had no idea where this film was going to end up, and I’m still figuring out what is next for the film and myself. You might try to take it one day at a time and be grateful for the opportunity. Take the time to appreciate each step of the journey and never stop learning. I’m never not learning. Oh, and don’t be afraid to laugh at yourself when you screw up.
W&H: Name your favorite woman-directed film and why.
CS. Sarah Polley is my favorite woman director. “Stories We Tell” re-invented the wheel for me personally. While I am aware that hybrid films and recreations are quite common these days, what she did at the time felt unique and special. I also love “Take This Waltz.” I found it deeply authentic and relatable to my own existence. I also find her to have an incredible level of eloquence.
W&H: How are you adjusting to life during the COVID-19 pandemic? Is creativity something you do?
CS. The pandemic has made me more like a homebody. However, I have also learned to appreciate and acknowledge the importance and value of community and close relationships. I like seeing people in person and I’m tired of sitting in front of my computer. I’d like to say I’ve blossomed creatively. Let’s just say I’ve become a slightly better cook and I’m enjoying my foster dog, who gives me a reason to go outside.
W&H: The film industry has a long history of underrepresenting people of color onscreen and behind the scenes and reinforcing — and creating — negative stereotypes. What steps do you believe are necessary to make Hollywood and/or doc more inclusive?
CS: It’s amazing to see more funds popping up for filmmakers from underrepresented communities, as well as gatekeepers acknowledging the importance of sharing more diverse stories. We need people from the communities who are writing and directing the films. Every time a film gets funded and is given a platform, the question must be asked: What unique perspective, angle, style, or style is being brought to the table and why?
Source: Women And Hollywood
