8legs: Nyon, switzerland

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#1 out of 2

Heat premieres in Visions du Réel's main competition, spotlighting climate inequality through personal stories from the Persian Gulf region.
The film follows a delivery driver, a Dubai ice lounge worker, and a Kuwait meteorologist to illustrate daily life under extreme heat.
Zünd describes Heat as a sensory experience, prioritizing sound and visuals to convey heat rather than exposition.
Filming occurred at extreme temperatures, with occasional access issues and brief detentions in Dubai affecting production.
Heat extends Zünd’s fiction work Don’t Let the Sun, which imagined people living at night in the Persian Gulf.
Heat’s opening uses real mirages shot near Aswan in Egypt to visually convey heat.
Heat is produced by Lomotion AG with Real Film, backed by ARTE and SFR, and sold by Taskovski Films.
Visions du Réel runs in Nyon from April 20 to 26, showcasing the documentary in an international context.
Jacqueline Zünd emphasizes engaging audiences fatigued by climate news through experiential cinema.
Heat examines how climate change reshapes daily life across different professions and regions.

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#2 out of 2

Poitras cites a letter signed by over 1,000 industry professionals opposing the Paramount-Warner deal and calls for collective action.
She warns that public funding cuts are decimating U.S. documentary support and distribution channels.
Poitras notes the U.S. funding landscape has tightened for politically engaged films and risk-taking projects.
She recalls funding hurdles faced during the making of her 9/11 trilogy and the challenge of financing sensitive topics.
Poitras emphasizes the link between state power and surveillance in her work and its relevance to audiences.
Poitras defends freedom of expression amid rising pressure on U.S. institutions.
She describes documentary filmmakers as mobilized and willing to collaborate despite industry strain.
Visions du Réel serves as the setting where Poitras discusses industry-wide funding and distribution pressures.
The industry-wide letter and discussion reflect broader concerns about sustaining independent documentary work.
Poitras hints at limited opportunities with major platforms for politically charged documentaries.

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