AN INTERVIEW WITH OUR PRODUCER

If you’ve been to the festival, you know Cynthi Stefenoni. If you haven’t, you should. She is the Festival Producer. But that’s only one of many hats she’s worn in her 15 years with the festival.

How long have you been involved in the festival and what were your various roles through the years?

Since 2009. As for the roles, you name it: Room Manager, Volunteer Coordinator, Programmer, Fundraiser, Donor Manager, Festival and Event Producer, Cheerleader, and Ambassador at Large.

Why did you first get involved? Why are you still as invested as you are?

I began my career in TV/Film in 1978 and spent most of it on locations across the US. I returned to Sebastopol as a full-time resident in 2007 and was introduced to SDFF when I attended a reception at the Sebastopol Center for the Arts. I was tapped to be a Room Manager at the 2009 festival and recognized the value of having a fledgling festival here. Over the years I have used my resources and industry skills to enhance the growth of the festival and film offerings at SebArts in any way that I can. That has included building partnerships with various businesses and individuals, producing fundraising events, and recruiting my family at every turn…I have many, many cousins who volunteer! I am proud to say that I played a part in securing SDFF being designated as an Oscar qualifying festival for short documentaries. I know that this fest is well respected by filmmakers and film goers alike and I look forward to this coming year being one of our best yet.

Why are documentaries so important to you?

Non fiction storytelling has always been intriguing to me. I have always been an activist for social justice. I was hooked by Barbara Kopple’s work at an early age and continue to be amazed by those who show me worlds I might never encounter otherwise. I believe that there is a need for my bubble to be pierced by the stories of others as often as possible and that I can then make informed choices about how to live my life.

What are some of your favorite docs of all time?

“Life’s Work: Six Conversations with Six Makers” (Ben Proudfoot), “The Humanitarian Trilogy” (Skye Fitzgerald), “Crip Camp” (Jim LeBrecht), “Rebels With A Cause” (Nancy Kelly and Kenji Yamamoto), “Miss Shade is Missing” (Eddie Rosenstein), “20 Feet From Stardom” (Morgan Neville), “Hitchcock/Truffaut” (Kent Jones), “Bellingcat: Truth in a Post-Truth World” (Eliot Higgins), “Our Time Machine” (S. Leo Chiang and Yang Sun), and so many others. Every documentary listed above has been screened here and the ones from Ben, Skye, Jim, Leo, and Eliot have been nominated and/or won for Oscars!

In your opinion, what makes this festival so special? What makes it different from the other doc fests?

The films at our festival are more than just given information. They have entertained as well as informed. They have been created by professionals who are dedicated to truth and craft and have been masterful at delivering both. When the cinematography, audio, sound bed, score and editing all join forces in presenting the story in a way that allows me to get lost while reaping information, I know that I am in the hands of a master. These are the filmmakers whose work we strive to present to audiences who care. It is our guiding principle.

What were some of the most memorable moments for you in terms of workshops and panel discussions we’ve had at the festival?

I am, of course, partial to things I had a hand in developing. 2023’s panel regarding funding and distribution moderated by former Sundance Director, John Cooper, was one of my favorites. Peer Pitch was always good to see and well-attended. Vivien HIllgrove’s presentations on editing were excellent and fun. And I liked leading the Roundtables on Film – my favorite being Don’t Panic!

How would you describe Sebastopol and why do you think it’s the perfect setting for a doc fest?

I have lived through Sebastopol’s many iterations. I watched it go from a 1950’s and 60’s agricultural town whose main industry was Gravenstein Apple producers, canneries and dryers (with poultry farms and dairies also in ample supply) to a place known as a retreat from city life and mores for the Flower Children and hippies of the 60s and 70s. IMHO, the 80s began the divine reinvention of Sebastopol as it grew from a tiny, independent town that had lost its center to a quirky haven for art, artists, writers and intellectuals. Although its reinvention seemed strange to the farming community, the arts had always been strongly represented here. Now, in 2024, quirky Sebastopol is a haven for inquiring minds and the creative community. SDFF was specifically chosen to be and remain a documentary only film festival because of the niche it fills for those minds and souls.