The Salvation for an Overlooked Oscar Category? ‘The New Yorker’

by

The conference room situated in One World Trade Center, towering over a bustling NYC square filled with thoughtful visitors, boasts only a handful of unique characteristics. It features a big monitor, an undecorated table, and numerous power outlets – a sterile environment tailored for the routine activities of contemporary business meetings.

It’s here where the future of documentaries is frequently decided – and potentially saved. This is the place where Paul Moakley and Sarah Lash discuss which of the numerous shorts they’ll release from the hundreds they review annually. As the executive producer at The New Yorker and vice president of acquisitions for their parent company Condé Nast, their titles don’t fully convey their impact. They decide what documentaries will be produced, purchased, and eventually showcased to The New Yorker’s readers and over a million YouTube subscribers.

In a discussion with Lash during a conference room meeting this autumn, Moakley emphasizes, “The heart of our future lies in motion and visual narratives – people tend to perceive images before they read.” She also jokingly reminds editors about this fact frequently, given her past experience at Time magazine.

Despite numerous traditional publications experimenting (and in some cases, abandoning) the much-discussed shift towards video content, The New Yorker persists with this approach. It’s surprising to see a magazine associated with Joseph Mitchell and Dorothy Parker engaging with the latest internet fads. However, this move aligns with the magazine’s history of intellectual trends. If those literary legends were alive today, one might envision them brainstorming ideas for viral documentaries.

David Remnick, editor of The New Yorker, finds that these shorts align seamlessly with the magazine’s past and identity. In an email, he expressed this sentiment: “Our readers, who eagerly anticipate Patrick Radden Keefe’s next investigation, also appreciate well-made documentary films.” He continued, “Regardless of the form, our audience comes to The New Yorker for exceptional storytelling.

These movies often showcase unique perspectives and unexpected twists. For instance, they might delve into heartfelt sincerity akin to “Seat 31”, a film revolving around Montana’s trans activist and state representative Zooey Zephyr. Alternatively, they could offer shocking surprises such as “Public Defender”, a recently released short film depicting a progressive lawyer defending a suspect accused of being involved in the Jan. 6 incident, which surprisingly humanizes both the defendant and the attorney. Another example is “Eternal Father”, a movie about an older British man planning for cryonic preservation. Lash, a seasoned indie-film producer, consistently emphasizes finding a genuinely innovative approach to themes that are common in everyday life by asking, “What’s a truly fresh take on something that’s part of the vernacular?

Similar to Seat 31, Eternal Father is among the nominees for the Documentary Short Oscar. Should it emerge victorious, this achievement would write a significant chapter in the publication’s history.

In recent years, The New Yorker has seen significant recognition in the category, having been nominated six times over the past nine years and earning fifteen nominations for documentary shorts during its brief history of competing – a level of influence similar to Netflix. However, it has yet to claim victory. Winning this time would serve as an elegant acknowledgment of its hard work (more information on the shortlisted films can be found below).

It appears that long-form visual storytelling remains secure even during the era of TikTok. This security can be attributed to a well-respected media brand that gained popularity well before the name ByteDance was known.

In fact, Lash says longer films (they can run up to 40 minutes) tend to draw more viewers.

Back when I joined Condé Nast a decade ago, our rule was that videos had to be no longer than six minutes. Over time, this limit increased to 15 minutes. This continuous increase is due to the growing audience preference for being fully engaged in compelling narratives.

For any text-based journalists curious about the magazine’s economic success, they may wonder how it manages despite the shift towards more expensive video content often being a barrier. However, this pair explains that part of their financial support comes from ad revenue on YouTube. Additionally, the creation of films contributes to broadening The New Yorker’s brand, which could potentially lead to an increase in subscriptions.

According to Lash, the age group of 18 to 34 years old is gravitating towards video content first. The aim is for these films to pique their interest in the magazine. Ideally, someone would find a documentary fascinating and then decide to subscribe to The New Yorker. With Netflix’s entrance into the scene, the cost of documentary shorts has become slightly more expensive compared to before.

Additionally, the magazine explores alternative methods to generate revenue from their films, such as creating productions for Condé Nast’s movie and TV division, which is managed by renowned Hollywood producer Helen Estabrook. Notably, one of these projects – a narrative feature currently in post-production – was developed from a documentary short originally published in The New Yorker.

Most movies are usually obtained once they’re completed, either spotted at film festivals or selected from a pile of submissions. However, our magazine occasionally takes on projects that are still being developed.

Remnick envisions these shorts as more than just a passing fad; instead, they provide clues about what the publication’s appearance might be in the years to come. “I aspire for the ability to tell stories in a cinematic manner to be a vital component of The New Yorker‘s future,” he penned. “These forms of storytelling, such as documentaries on YouTube or short clips on TikTok, can serve as a welcoming path for a new generation of readers who may initially connect with us through these platforms.

As an enthusiast, I find myself in a unique position where one fortunate trend and two unfortunate ones intersect. The era of abundant cameras and footage has made it simpler than ever before for me, or anyone else with a passion, to create a compelling documentary short. This influx of quality films is truly overwhelming, leaving distributors struggling to keep up.

However, this boom in independent filmmaking coincides with a challenging reality: The Hollywood machine appears less inclined to nurture original voices, while big streaming platforms seem hesitant to take on even moderate political risks. In this vacuum, The New Yorker is stepping forward as a beacon of support for fresh talent and stories that might otherwise go unheard.

The magazine frequently uses its social media platforms to attract viewers, with Instagram, home to almost 9 million followers of The New Yorker, playing a significant role. A Reel on Instagram is often instrumental in making a movie trend, even causing it to become viral. An innovative promotional tactic involves a director engaging in the comments section of YouTube for several days following the release of a new film, fostering a prolonged Q&A session that generally remains focused. Linking a movie with an appropriate written piece can enhance viewer interaction, a benefit Netflix doesn’t possess.

Moakley and Lash acknowledge that they, along with others, have yet to uncover the magic formula for transforming text-based audiences into video viewers. “It’s an ever-changing terrain, and we’re all grappling to understand how to maneuver the pieces on the chessboard and make the business thrive,” Moakley explains.

**

As a gaming enthusiast, I’ve got some exciting news to share! Among the magazine’s top picks for the 2025 Oscars, there are three documentaries that have caught my eye. Interestingly, a fourth short film titled “I Am Not a Robot” has made it to the live-action narrative category as well.

Eternal Father 

Ömer Sami focused a camera on a cable technician residing in northern England, capturing the emotional essence of the scene. This UCLA-educated director, currently living in Denmark, documented the life of Nasar, a 59-year-old who married late and fears he may miss crucial moments in his children’s school years. The most touching scenes occur when the kids gather together and discuss, with innocent enthusiasm, what it would be like to reunite with their father, decades after his passing.

Seat 31: Zooey Zephyr 

Zephyr is a transgender activist and a legislator from Montana. The 15-minute introduction of Kimberly Reed’s film, akin to an emotional first aid shot, starts with Zephyr addressing lawmakers who oppose transgender healthcare, saying “I hope… when you pray, you see the blood on your hands.” Unfortunately, Zephyr is eventually reprimanded, causing her to work from a spot near the House snack bar. The film swings between frustrating and uplifting moments, reaching its peak when a young transgender individual visits Zephyr, unable to hold back tears. In a comforting gesture, Zephyr tells them, “Keep your head up,” offering support and saying, “Don’t let them take that away from you, OK?

Incident 

Bill Morrison, a director known for ingeniously using old recordings, powerfully portrays the 2018 incident of a police officer killing Harith “Snoop” Augustus in Chicago in a way that’s subtly incendiary in his film Incident. The footage shows Augustus not appearing to pose a threat when he is shot by an officer, and later, his partner assures the officer that he acted lawfully as Augustus’ body is ignored. Morrison narrates this tale primarily using the surveillance footage, often maintaining a distant perspective, giving the film a feel reminiscent of a Michael Haneke documentary. Additionally, he divides the screen into four sections, similar to Timecode, achieving the seemingly impossible – crafting a film that is as ambitious as it is socially significant.

Originally published in a special issue of The Hollywood Reporter magazine in January, you can read this story by subscribing to the magazine. Click here for subscription details.

The story was initially featured in a single issue of The Hollywood Reporter magazine in January. To get the magazine and read the story, click here to subscribe.

Read More

2025-01-08 02:26