For French documentary maker Pin, whose résumé spans war zones and environmental crises, the mission was clear. “Testimony is key,” he said. “My job is to give light to those who don’t have a voice, to bring their situation into focus for the world to see.”
Pin reflected on his foundational work documenting refugees in the aftermath of the Rwandan genocide. While reporting on the harrowing plight of 400,000 people crossing the Congo wilderness, he faced a moment of moral hesitation. “I put my camera down and began helping UNICEF with the logistics,” he shared. “I then thought, this is not my job. I’m not an NGO. I’m a journalist. My responsibility is to show the world what’s happening.” The resulting documentary earned the attention of Human Rights Watch, which used it as evidence in an investigation into crimes against humanity.
Schmelz, known for his visual compositions showcasing the grandeur of hidden destinations, spoke about how his lens has shifted. “For much of my career, I worked in tourism, capturing beautiful places and selling dreams. But I began to feel like something was missing,” he said.
From working on a commercial train project in India, Schmelz expanded his focus to include the stark socioeconomic contrasts he encountered. “I turned that trip into a personal project, creating a short film for YouTube about my experience. Unexpectedly, it went viral and resonated with almost half a million people, sparking the conversations I hoped for.”
Fighting for funding
Making documentaries that matter comes with another formidable challenge: financing. Photojournalist Smolan, famed for his iconic “Day in the Life” photography books, shared a more entrepreneurial approach, saying “When no traditional publisher would touch my idea, I approached corporate sponsors. I told them, ‘Your sponsorship will give you visibility, not editorial control.’ To my surprise, many companies agreed. That strategy unlocked massive resources while safeguarding integrity. And once the project was complete, those same sponsors became my biggest marketers, enabling me to reach audiences globally.”
Still, Smolan acknowledged the shift younger filmmakers face today. “We live in an era of TikTok and short-attention-span theatre,” he said. “Audiences demand bite-sized stories, but social change doesn’t come in 30-second takes. It requires time to build empathy for people’s struggles. Despite YouTube’s power as a platform, it’s not always built for the investigative rigour some stories demand. That’s where the traditional long-form documentary still holds its power.”
Social issue films also face an uphill battle convincing backers of their value. But the responsibility of telling these stories remains more urgent than ever. Schmelz advocated authenticity over chasing trends. “The subject has to mean something to you. If you’re just making films for clicks or virality, it shows. But if the cause is real to you, the audience will feel it,” he said.
Organised by the Sharjah Government Media Bureau (SGMB) Xposure 2025 is taking place in Aljada, Sharjah until February 26. To plan your visit, see
https://xposure.net/. 
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