Board Candidates 2026
Fifteen members have put themselves forward for the three seats available on the DFC’s Board of Trustees. They are listed in alphabetically by surname below.
Please take time to read through each candidate’s statement and prepare your list of preferences, and remember that you must be a full DFC Member to vote.
To participate in the election, the deadline for new members to join (or upgrade to full Member) is Friday 11 May 2026. Voting will open on Thursday 14 May 2024 and close at midday on Thursday 28 May 2024. When voting opens, every member of the DFC eligible to vote will be emailed a unique code and link enabling them to cast their ballot.
Sandhiya Sophie Argent
Co-founder and Media Lawyer, Creators Counsel
I bring a strong understanding of the documentary sector, along with the ethical, legal, and compliance challenges it faces. I am a co-founder of Creators Counsel and have worked on numerous ground-breaking documentaries, as a media law consultant. Prior to becoming a consultant, I spent many years working in-house at various media organisations—including as a lawyer in Channel 4’s Legal and Compliance team and as Senior Editorial Compliance Lawyer at ITN.
I have advised on some of the most complex and innovative films, offering not only legal guidance but also practical and ethical support that enables filmmakers to tell important stories with confidence. I am an effective advocate, balancing editorial ambition with responsible decision-making. As a former trustee for the Rory Peck Trust, I have also spent considerable time supporting and advocating for freelance photographers, filmmakers and journalists around the world, who continue to work in increasingly hostile and dangerous environments.
Diversity is central to my perspective and values. I have first-hand experience of growing up with financial pressure and working in environments where my background and heritage were in the minority. I understand what it means to navigate spaces where you may need to work harder to be heard or recognised. For me, diversity is not a buzzword or a passing trend—it is essential to making better films and to maintaining the UK’s position as a global leader in documentary storytelling. I am deeply committed to ensuring that this diversity is both protected and meaningfully supported.
I believe these experiences would be valuable to the Documentary Film Council, both at Board level and for its wider membership. Through my close work with filmmakers, I understand the practical and creative challenges they face in an industry that consistently delivers outstanding work despite tightening resources and increasing pressures. Documentary filmmaking is a powerful art form and a vital expression of public interest and free speech. It is crucial that it is protected, championed, and allowed to thrive.
I am committed to playing an active role in supporting the sector—ensuring it remains resilient, representative, and valued, both within the UK and internationally.
Aleksandra Bilić
Producer/ Director, My Accomplice
Standing for the board of the Documentary Film Council feels like a natural extension of both my work and my values. I am a BIFA nominated producer, Grierson nominated director and currently Head of Development at My Accomplice, where I lead a slate of documentary and scripted projects. My producing work spans films such as The Great Hack, 8 Bar: The Evolution of Grime, and Nascondino, alongside my first fiction feature Surviving Earth. Earlier in my career, I worked at Roast Beef Productions on projects including Pussy Riot: A Punk Prayer and The Square. Across all of this, I have developed a strong understanding of the industry from development through to release, and I want to use that experience to contribute to the wider documentary community.
My background has always shaped the kind of work I make and the perspective I bring. I am originally from Bosnia, and my family came to the UK as refugees during the Yugoslav conflict. That experience continues to inform my practice, particularly my interest in themes of displacement and belonging, and informs the way I collaborate. In my own directing work, including The Score, I have explored how personal histories intersect with wider political narratives. The film’s journey through festivals such as Sheffield DocFest and Sarajevo reinforced for me the importance of creating space for complex, lived experiences within documentary.
I want to stand for the board because I care about how those spaces are shaped. The documentary sector still presents barriers in terms of access, sustainability, and representation, particularly for emerging filmmakers and those from underrepresented backgrounds. Through my work developing projects and collaborating with a wide range of talent, including female led creative teams, I have seen both the potential of the field and the gaps that still exist. I would bring a perspective that is both industry informed and rooted in lived experience, with a strong interest in supporting new voices and strengthening pathways into documentary. I am not afraid to stand up for what I believe in and advocate for what is right.
The DFC represents an important opportunity to build a more connected and representative sector. As a board member, I would contribute strategically while also advocating for transparency, fair access, and meaningful support for filmmakers at all stages of their careers. I would approach the role with a collaborative mindset, listening to members and ensuring their perspectives are reflected in decision making.
For me, standing for the board is about contributing to a collective effort to shape a documentary landscape that is more inclusive, sustainable, and reflective of the stories it tells – at a most urgent time.
Tristan Copeland
Director, Tea Cup Pictures Ltd
I want to stand for the DFC board because I believe the UK documentary community needs a voice that genuinely reflects the reality of independent production: the financial precarity, the administrative weight of certification and compliance, and the difficulty of getting important films seen by the audiences they deserve.
I am currently in post-production on What About Gary?, a feature documentary about my cousin Gary Matthews, who died from Covid-19 after becoming immersed in online conspiracy theories. The film has a BFI certification, an Executive Producer credit from Nick Broomfield, and a strong BBC relationship including a 10-part Radio 4 series presented by Marianna Spring and a second BBC commission. I know what it takes to bring a difficult, socially urgent documentary from idea to screen; and I know the obstacles that independent filmmakers face at every stage of that journey.
My background spans documentary directing, producing, and a decade of hands-on production experience across feature film and commercial media in Los Angeles, including work at Rock Paper Scissors alongside a two-time Academy Award-winning editorial team, and camera work on productions with some of the most recognised names in film and television. I understand both the craft and the business.
If elected, I want to focus on three areas: clearer pathways for independent filmmakers navigating certification and funding; stronger representation of nonfiction film in broadcaster and distributor negotiations; and building practical community infrastructure that helps working filmmakers, not just established ones.
The DFC is something genuinely new in the UK screen sector. I want to help shape what it becomes.
Moray Coulter
Managing Director, Stern & Wild Ltd
I have a 34-year track record of pushing to improve the working lives of production people in film and TV production, and particularly in documentary. I bring some useful skills that are different to an experienced filmmaker’s. I’ve been launching and running businesses for a long time (Productionbase, I co-designed The Talent Manager, now the Stern & Wild agency) so I can analyse financials and help to keep the DFC on track. I provided the technical structure to set up the TV Watercooler support website and keep it online, and was one of a dozen activists of the TV Wrap campaign to scotch a pervasive culture of longer-term unpaid junior workers. I’m all about making it easier for filmmakers’ passion, experience and skill to be translated into excellent films.
I’ve been on the corporate side too, I spent 4 years as a policy and training executive at Pact, another two years as the production talent executive at ITV Studios. I’ve sat on boards and committees for a range of organisations including FT2, Scottish Broadcast and Film Training, and the Edinburgh TV Festival’s Fast Track (‘Ones To Watch’) scheme. I’m a business-minded, politically-seasoned person with their heart in the right place for filmmakers and their films, and will provide imaginative guidance for the future of the DFC. I can help find the sustainable sources of funding that will add real power to the DFC’s elbow, which is not just about membership subscriptions. This may not be the most exciting pitch to help the DFC Council that you will read, but perhaps it’s one of the more pragmatic ones.
Graham Fulton
Co-founder and Co-CEO, Conic
Since co-founding distributor Conic with Jen Davies back in 2022, the power and the irreplaceable value of documentary has only been reinforced in my mind – in terms of its ability to bring audiences together.
Before Conic, I led on international sales and distribution for Park Circus, affording me the opportunity to be involved with the rollout of films such as Free Solo, American Utopia and Human Flow on behalf of studio partners. This helped to feed the desire for Conic – to bring bold and innovative films to audiences across the UK and Ireland, with documentaries being at the heart of that. We release 3 to 4 docs a year, all into cinemas. Just some of those include Smoke Sauna Sisterhood, Everybody to Kenmure Street, and the upcoming American Doctor.
Audience involvement and reaction to documentaries are incomparable. Seeing groups and sometimes whole communities rally and go to the cinema together, is for me, the reason why we are all doing this!
I am extremely passionate about documentaries, and the life they can have theatrically and beyond. I want to be a big part in helping that to flourish. We always strive to reduce the barriers and improve communication flow between filmmakers and distribution in the documentary space, and provide an open platform to explore ideas and progression. I would bring a wealth of experience from the sales and distribution side, with an openness and transparency that can hopefully help to ease the filmmaking and funding process through all stages.
It would be an honour to serve on the board of the DFC, and help to push and drive the doc industry in the UK to become the robust ecosystem we know it can be.
Documentary pushes buttons and creates movements like no other, and in the current world we are in, we need this more than ever.
Pamela Gordon
Director / Exec / Journalist
Signing up as a member of the first national membership organisation in the history of British documentary felt important. To be given the opportunity to be a trustee at this early, exciting stage would be a privilege.
I count myself extremely lucky. I have built up a body of work and experience. I found resilience over the years. But coming originally from a socio-economically deprived background and now pigeonholed as an “older” woman, I know how easy it is to feel isolated and disconnected whilst retaining a passion for storytelling. I know how hard it is to make a living doing what we love not to mention a lasting career. Recognising the unique commitment each one of us make to our industry is crucial. Growing the DFC community as an inclusive organisation which holds the special nature of our work at its heart could be transformative for so many.
The work of the DFC has already been impressive. Creating the conditions in which documentaries can flourish in the UK is critical, not only to us as filmmakers but to the creative and political landscape which is under attack and threat. The DFC submissions to the DCMS outlined our personal fears for the future and made it clear how much is on the line. I have the experience and the journalistic abilities to contribute, to advocate powerfully for us all. I am confident in legal and compliance and very keen to help guide the organisation ensuring it remains within required frameworks whilst pushing forward with its stated aims.
Finally, I recently wrote an article about someone I filmed years ago who sadly died last year. The impact of the piece was overwhelming. Hundreds of emails, thousands of messages sent from across the world. Many of them desperate to show that they cared; that they were empathetic. And many of them telling me how essential it was to hear the stories of others. It was a reminder of how much we stand to lose and how we cannot let that happen.
We must succeed in protecting and strengthening our industry and making sure we all have a part to play. I believe it is possible; that creativity and the power of storytelling will thrive again. I would love to be part of the struggle and work with DCF to help that happen.
Annabel Grundy
Freelance
I believe in the mission and impact of the DFC, and believe that when we work and learn from one another in community, we are stronger. Independent documentary and free journalism is vital in these questionable, volatile, times, with the ability to bring lived experience and international understanding across borders and into people’s homes and screens. The work that DFC is doing to support, empower and represent the passionate individuals who take risks and hold firm to bring stories to light, with care and depth, is essential, and I would be proud to play an active part in supporting them.
I have worn many hats in film and documentary, ranging from current exec producer roles on independent non-fiction features and immersive works; as a funder in past roles with BFI/UKGSF and British Council; and more recently as Managing Director of Sheffield DocFest 2022-24. In all of these roles I worked to support filmmakers & creative practitioners, commissioners, financiers, institutions, government, and strategic partners, so I have a rounded view of different priorities and concerns in our ecosystem. I can also bring experience of effective board working – through both working as a senior official reporting to a charitable board, and as an advisory board member, in past roles.
As an elected Board member I will take an active role in DFC’s work, bringing specific expertise in strategy, finance and partnerships. I’ll make sure our mechanisms for listening to members and developing responsive, impactful policy and actions are working well, and will support fellow board and leadership team. I’ll contribute to, and encourage, an atmosphere of psychological safety and ambition, so that the DFC team are able to strategise and use board discussions effectively, so that we are evaluating real impact, dreaming big, and in the conversations that we should be.
Nevine Mabro
Head of BBC Storyville
In my role as head of BBC Storyville I want to support filmmakers to tell stories that resonate with audiences as well as move and inspire them. Documentaries that reveal, enlighten and entertain as well as tell you something about the complicated world we live in.
It’s a difficult time for independent filmmakers because of the huge market changes in the industry, so I am keen to support them, and the wider documentary community in the UK, to navigate this ever changing landscape.
I joined BBC Storyville from Channel 4 where I was a commissioning editor from 2021-2025. Before that I worked as a journalist and producer, holding several senior editorial roles at Channel 4 News from 2005-2020.
In this time, and as a producer at Associated Press TV before it, I covered world news including wars, humanitarian disasters and political events in the Middle East, Asia, Africa and the Americas. It was a job I loved, and it taught me so much about how people handle and survive the most extreme of situations.
It was during my time at Channel 4 News that I produced the Oscar-nominated feature documentary For Sama, the multi award-winning feature directed by Waad al-Kateab and Edward Watts. This was a film that started out as a series of news pieces, and then became a feature doc. Producing it and doing the festival circuit with the team over many months taught me a lot about the international documentary industry and the importance of press and impact campaigns.
It would be a pleasure to join the DFC as a trustee, and I hope the variety of experiences I have had in news and film will be of benefit to its members.
Gannesh Rajah
Producer, Open Door Pictures
I am standing for the Documentary Film Council’s Board because I care about the future of documentary in the UK, and about how we support the people making work within it.
As a producer I primarily work with first-time and emerging filmmakers, many from underrepresented backgrounds. I produced If the Streets Were on Fire, which won two British Independent Film Awards and was longlisted for a BAFTA, and I am currently working on a range of ambitious, international projects funded by Sundance, Sandbox Films, Chicken & Egg Films, Catapult, as well as the BFI Doc Society.
Through my work, I have seen how strong and committed the documentary community is, but also the challenges people face in sustaining their practice over time, and how difficult it can be to get films made, with inconsistent support across the process.
If elected, I would want to contribute to making the DFC genuinely useful to its members, and to ensuring it reflects the realities of people working across the sector. I would also prioritise open communication with members to better understand how the DFC can serve the community, while setting ambitious goals and pushing for meaningful impact.
Alongside my producing work, I mentor with organisations including Arts Emergency and Film London, and I care about supporting the next generation of documentary talent as they find their way into the industry.
I see this role as a chance to contribute to a more connected and sustainable documentary ecosystem, where filmmakers are better supported to continue making work over time, and where a shared voice can help shape the future of the sector.
Nick Read
Filmmaker, Red Zed Films
I would like to be considered as a DFC Trustee because I have a manifest passion to make and watch documentary films, and I want to contribute to a culture that sustains and enriches us as a professional community.
I have been led by this passion for over 40 years, as a 16mm camera assistant, frontline news cameraman and more recently as a director, producer and DoP. My storied career was partly enabled with the advice of elders and encouragement of peers. I am now keen to give back, to ensure our industry is in robust health.
I already support emerging filmmakers in formal & informal ways. Recently I have trained as a mentor and worked with young people through Skillset, Film London, NFTS and the Grierson Trust. I have been associate board member of the Rory Peck Trust, a long-term contributor to the Watersprite Student Film Festival and hosted workshops at Cambridge, Middx & Roehampton University. Informally I am supporting 3 first-time filmmakers to pitch projects at Sheffield DocFest, and I coached last year’s winner of the Whickers Pitch.
As evidence of my ability to collaborate in working groups, I have served on numerous festival and award juries, including BAFTA, RTS, Rory Peck Award and Krakow Film Festival (as last year’s jury chair). I have presented Q&As and contributed to forums at numerous festivals: SIDF, IDFA, TIFF, CPH, HotDocs, Tribeca etc. I am a voting member of BAFTA, RTS, DUK & BECTU and regularly participate in elections and forums.
I am a working filmmaker, both as a freelancer and through my production company. Currently I am raising funds and managing the budgets for 3 projects. I will oversee legal & editorial compliance as well as exercise a duty of care and safeguarding to all team members and contributors. Having directed scores of broadcast documentaries, and several recently for theatrical distribution, I have an extensive network of contacts and a deep knowledge of current industry practices and ethics.
Emily Renshaw-Smith
Managing Director, Open Planet
I’ve been a part of the documentary community in the UK for 25 years and would love the opportunity to support it through a trustee position with the Documentary Film Council. I believe my skills and experience gained from roles within broadcasting, independent production and the not-for-profit sector would be valuable to the successful running of the Council. I love the work that you do and am keen to devote my time to supporting it.
I’m currently Managing Director at Open Planet, the award-winning production studio behind Ocean with David Attenborough, producing groundbreaking content that uses the power of storytelling to create change for our planet. I also manage our not-for-profit open-source library providing trusted, world-class footage and data visualisations spanning climate, nature and humanity. It enables everyone to tell stories that can drive awareness and action on the planetary crisis. Our library of 12,000+ high-quality clips and resources supports a growing community of storytellers globally.
Prior to Open Planet, I was Head of Content for Comic Relief where I led the transformation of the charity’s appeal films towards working with local filmmakers and hearing from community voices. As part of the leadership team, I gained a good grounding in charity governance and compliance as well as strategy development and implementation.
I started my career in Channel 4 Documentaries, as assistant to the commissioning team, working across a rich slate of programming from True Stories feature documentaries to formatted shows like Supernanny and Wife Swap. This time gave me an appreciation for public service broadcasting and a passion for combining entertainment with social purpose.
My production experience spans from producer to development to head of production. I set up and ran a production company with Peter Dale in 2012 where we focused on growing and developing documentary talent and providing opportunities to step up into new roles within a supportive environment. I’m very proud of the films and series we produced at Rare Day, from formatted series to drama documentaries and branded content.
Jerry Rothwell
Filmmaker
Documentary is a vital part of our cultural and social fabric. I’m standing because I’m committed to its support and growth in the UK.
I’ve been making docs for thirty years. Over that time, I’ve seen first-hand how the form has evolved, adapted, and endured—but also how often it is overlooked, under-supported, or treated as secondary to other parts of the screen industries. Documentary has distinct creative, ethical, financial and production needs. It demands its own voice, its own advocacy, and its own space to grow. The DFC represents a unique and much-needed intervention at this moment. At a time when independent documentary faces significant pressures—economic, technological and cultural—we need a strong, collective body to advocate for the sector and help shape its future.
If elected, I would aim to support and strengthen three core priorities:
- Strengthening the ecosystem across all levels
From emerging filmmakers to established practitioners, the sector depends on a connected, sustainable community. I support the DFC’s work in building networks, sharing knowledge, contributing to policy and fostering collaboration across regions and roles, helping ensure the industry is accessible and resilient and that documentary makers are adequately paid for their work.
- Championing the distinct value of documentary
Documentary storytelling plays a critical role in how we understand the world and each other. I would advocate for clearer recognition—within policy, funding, and commissioning—of the specific conditions required for documentary to thrive.
- Supporting a truly representative and democratic voice
As a member-owned, democratic organisation, DFC has the potential to act as a genuine collective voice for the sector to shape the future of documentary in the UK. I would work to ensure that its co-operative structure continues to reflect the breadth of voices in the documentary community, and that members feel genuinely heard and represented.
Alongside my filmmaking, I’ve extensive experience of working as part of boards, co-operatives and collectives, in film organisations, housing groups and as one of the co-ordinators of Otherfield documentary festival. I would be excited to contribute my experience, perspectives and commitment to the future of both DFC and documentary.
Stuart Sloan
Head Programmer, Docs Ireland
My colleague at Docs Ireland, Roisin Geraghty, served on this board but has to step down. We both agree how important the work of the Documentary Film Council is and how necessary it is for the documentary industry in Britain and Ireland. On her recommendation I am putting my name forward.
I have been working in the documentary sector, both as a programmer and filmmaker, for nearly 20 years. I have knowledge of both the strengths and weaknesses of the industry. I think the documentary sector is already a strong advocate for diversity and inclusion, but of course can still do better. I see this perhaps as the most important aspect of the DFC’s role and responsibilties.
I am a firm believer in the ability of documentary film to truly engage with the actual day-to-day world that we all live within. The passion I have for it is strongly rooted in the belief that documentary film and filmmakers can do things that affect change on a larger level, whether that be social, political, historical. For instance, in Northern Ireland we have long had a large, and sophisticated, non-fiction tradition due to our conflict and it’s aftermaths. Whilst at a political level we have perhaps never faced more difficulties in peacetime – I believe documentary work on the the historical path of Ireland can and does help, in small ways, to let people understand what truly happened. I think this is a good example of the potential documentary has in such a fractured and corrupt and militarised world. So I am always on the look out for new ideas and ventures to help with this as many people as possible. I am excited about the DFC and what it’s doing in this regard.
I have also been involved in the documentary festival world of the UK for the past 10 years. I have been especially pleased with the close relationships and collaborations we have fostered with organisations, big and small. I would hope this role would help us continue connecting festivals, filmmakers and film communities, widely over these islands. Through various political and historical reasons, Northern Ireland sometimes feels a little distanced from the wider film community on the so called mainland – this has had noticeable changes in the last few years and I would love to help forage new connections within the DFC network.
Andrew Wilson
Re-recording Mixer, Red Six Ltd
I’ve spent around 40 years working as a post sound mixer, largely in documentaries, including landmark BBC series such as Blue Planet and Planet Earth, and more recently focussing on feature docs. The documentary form is a particular passion of mine, and I actively champion it across the industry.
I recently completed four years as Chair of the Association of Motion Picture Sound (AMPS) after more than a decade on AMPS Council, where I still serve. During this time I helped raise the organisation’s profile and expand its reach, delivering tangible benefits to members while strengthening its presence across the wider industry. This included growing the impact of the AMPS Awards, improving communication and visibility, and increasing engagement with early-career and grassroots members.
I have a clear understanding of the responsibilities of board service and the importance of representing a broad and diverse membership. If elected to the DFC board, I will use my experience to support and raise the profile of those working in the craft roles of documentary filmmaking—people whose work is essential, but not always visible.
I am also committed to improving representation for members working outside London. There is a wealth of talent across the UK that deserves stronger national visibility. I will support initiatives and events across the country and work to ensure that members at all experience levels feel equally valued, regardless of location or role.
Ultimately, I’d like to contribute to a DFC that feels connected, representative, and genuinely supportive of the people who make documentary films.
Dionne Walker
Writer, Producer and Director, Dionnew/www and NMS Media, Film & TV
I hope you will consider me as a candidate, indeed, I was an early signee to the DFC’s mission, having been on board since participating in the UK Feature Documentary Survey. I’m a twice BIFA and BAFTA nominated producer. My theatrically released project, as writer- lead producer, was One People (2012) and the critically acclaimed feature-length documentary The Hard Stop (2015).
My background lies in producing, founding, heading up the film unit in Camden that included co-producing year on year short films series with UK filmmakers in partnership with national media Curzon, Guardian, French Institute, Argent, Wellcome Centre, Screen Nation, Black Filmmaker Magazine, Bloomsbury Centre, BAME Team, King’s Cross & St Pancras Dev and other sponsors.
Also, as head of the one-stop agency in 1996 and in partnership with the Mayor of London’s backed Film London Network, we established ease of access to filming across the 33 boroughs of London for local and international productions including news & documentary crews.
Past References/Collaborators: Ben Roberts, Ceo, BFI | Lizzie Francke. Ex-Senior Executive/Editor, BFI & Head of Feature Film at NFTS | Briony Hanson, Director of Film, British Council | Tabitha Jackson, Ex- Head of Documentary/Artistic Director, Sundance Institute | Margaret O’Brien, British Museum | Michael Stewart, Founder of Open City Documentary Festival | Natalie Brett, Head of London College of Communications, and Pro Vice Chancellor, UAL | Lara Anderson, Head of Screen School, London College of Communications | Aisha Richards, Teaching Within, University of the Arts | Kristin Feeley, Director of Labs, Sundance Institute | O’Neil Lawrence, Chief Curator, National Gallery of Jamaica | Gaylene Gould, former Head of Cinemas, BFI | Jobeda Ali, Producer/Bloomsbury | Hermann Djoumessi, Producer, Head of the Chinese Centre, Camden Islington Youth Action Partnership
Additional information: I’ve been invited to show my short films as part of the Break-Out shorts festival as well as the Pinewood Lift-Off Festival. I’ve also submitted to the prestigious Marche Du Film Short Film Corner, We Film Good, Maison Des Scénaristes is representing my auteur work. I’m BAFTA, BIFA nominated, Screen Nation, NFA, and Chelsea Film Festival awarded. Sundance Institute Alumna, BFI BAFTA Network member as director, shortlisted for BAFTA Breakout Brits as filmmaker, and Sundance /McArthur supported Black Girl Doc Mafia member as well as long standing attendee of Doc Corner/ Doc Days at the Marche, Jihlava Emerging Producer alumna. Also a graduate of the Edinburgh Art College and University of the Arts and member of the Institute of Contemporary Arts. And have taught on the Documentary, Ethnography & Film Practice programmes. Presented and exhibited work at the British Museum and the National Gallery of Jamaica and National Museum of Ghana. As well as mentored filmmakers in Kenya.