Beyond the credits with Tarha McKenzie

In documentary filmmaking, some of the most important work happens far from the spotlight. Beyond the camera and the edit suite are the people who build programmes, shape distribution strategies, foster partnerships, and create the systems that allow films to find audiences and have lasting impact.

In this Q&A we chat to Tarha McKenzie Encounters South African International Documentary Film Festival manager. Tarha’s role includes advancing African cinema through festival leadership, strategy, systems development, and socially driven storytelling initiatives.

Q. Your work often happens behind the scenes, building systems, managing programmes, and shaping distribution. Why do you think BTS work is so crucial to the success of documentary storytelling?

Filmmaking doesn’t exist in a vacuum. Behind-the-scenes work creates the conditions for films to thrive. It involves building and sustaining relationships, securing resources, creating thoughtful platforms for exhibition, supporting filmmakers and their protagonists, and designing impactful ways for audiences to engage with these stories. When these systems work well, they become almost invisible, similar to a good edit, but they are often the difference between a film that disappears after completion and one that continues to resonate long after the credits roll.

Q. Encounters is known for its emphasis on connection and dialogue. From a programming and distribution perspective, how do you ensure that films don’t just screen, but truly reach and resonate with audiences?

For me, programming is about much more than selecting great films. It’s about creating meaningful encounters between stories and audiences, having one’s finger on the pulse as our publicist Joy Sapieka often says. We think carefully about the global context and whether it will suit our audiences – this is quite important – but some times we do like to challenge our audiences by programming films that they don’t usually attend, which is sometimes a huge success and other times a big failure. The goal is to create spaces where people can engage deeply with the themes being explored rather than simply consume content or purely focus on the filmmaking process. This is why Encounters has such a profound impact every year because it’s the film themes that hold the power.  Programming with this mindset brings together not just the filmmaking community but people from all walks of life.

Q. You’ve worked across production, programming, and distribution. How has this multifaceted experience shaped the way you think about the life cycle of a documentary film?

Working across different parts of the industry has reinforced that a documentary’s journey begins long before production and continues long after its premiere. Every stage is interconnected. Decisions made during development can influence distribution opportunities, while understanding audiences can shape storytelling choices. I increasingly think about films as “living projects” rather than finished products. Understanding the full life cycle helps create more intentional strategies that support both filmmakers and audiences throughout that journey.

Q. The theme this year speaks to care and connection. How does that idea translate into the practical work of managing a festival programme or supporting filmmakers behind the scenes?

Care is often expressed through attention to detail. It means creating environments where filmmakers feel supported, audiences feel welcomed and stories are treated with respect. In practical terms, that can be anything from clear communication and thoughtful scheduling to facilitating introductions, supporting accessibility or helping filmmakers navigate complex festival experiences. Connection happens when people feel seen and valued. Festivals can be intense spaces, so creating systems that prioritise people alongside logistics is essential. Care isn’t separate from the work; it is embedded in how the work is done.  With that being said, care must start at “home” and I believe the team we have at Encounters practices care and connection, and it is what makes the festival so special.  Encounters’ core values are centred around this.

Q. What are some of the most effective or innovative ways you’ve seen stories travel beyond the festival circuit?

Some of the most exciting examples involve films becoming tools for community engagement and social change. We’ve seen documentaries integrated into educational programmes, community screenings, advocacy campaigns and digital engagement initiatives. Mobile cinema, grassroots exhibition networks, impact campaigns, podcasts and hybrid storytelling approaches are all expanding the ways documentaries can travel. Increasingly, audiences are encountering documentaries in spaces beyond traditional cinemas, which creates opportunities to reach people who might never attend a festival but are deeply connected to the issues being explored.  A note that these mobile cinema and impact campaigns have existed long before they were formally explained in film distribution methodology books, etc. and have been a form of distribution that many underresourced filmmakers have been using.

Q. What do emerging filmmakers most need right now, not just creatively, but in terms of navigating the industry?

Beyond creative support, filmmakers need access to mentorship, funding opportunities, professional networks, business skills, distribution knowledge and a clearer understanding of how the industry operates. They also need to watch films and not just make them, particularly work from the African continent.  This will inspire, improve and encourage local filmmakers in ways that only watching work can do. There is also a growing need for support around wellbeing. Documentary filmmaking often requires working with difficult subject matter, navigating uncertainty around funding, carrying the pressures of freelance work and balancing long development timelines with personal and financial responsibilities. Emerging filmmakers need spaces where conversations about mental health, burnout and resilience and sustainable careers are normalised. Supporting filmmakers as people, and not only as creatives, is essential if we want to build a healthier, more diverse and sustainable industry for the future.

Q. How can documentary infrastructure better support stories that aim to drive real-world change?

Impact rarely happens by accident. Infrastructure plays an important role and means that investing not only in production but also in audience engagement, outreach strategies, and long-term impact campaigns is critical to driving real change. We need systems that recognise the value of documentaries beyond commercial metrics and create resources for filmmakers who want their work to contribute to meaningful social conversations and change.  Unfortunately at the moment, the infrastructure does not support authentic auteur documentaries, and it is increasingly alarming that the reason for this is due to metrics and what the algorithm supposedly says is popular.  This means that many local documentaries are not licensed by streaming channels nor our local channels which in turn stunts real-world impact or change. For this reason many filmmakers use alternative means of distributing their work. 

Q. How do you balance artistic vision with the operational realities of curating a large-scale event?

The balance comes from understanding that operational systems exist to support the artistic vision, not compete with it. Logistics, budgets, timelines, technical management, etc. are all important, but they should ultimately serve the stories and the audience experience. At a festival like Encounters, there are always practical constraints, but creativity often emerges from working within those realities. The challenge is remaining flexible while staying committed to the core purpose of showcasing powerful documentaries.

Q. What does it mean to ‘hold space’ for both people and processes in a high-pressure creative environment like a film festival?

Holding space means recognising that both the human and operational dimensions of the work matter. Festivals involve a complex network of filmmakers, audiences, partners, staff, volunteers, and stakeholders, all operating under significant pressure. Effective leadership requires creating structures that keep things moving while also making room for empathy, listening, care, kindness, understanding and adaptability. It means understanding that people are at the heart of every process and that successful outcomes often depend on how supported and valued people feel throughout the experience.

Q. Looking ahead, what shifts would you most like to see in the African documentary ecosystem, in terms of access, sustainability, and how stories are valued globally?

I would like to see greater investment in African-led infrastructure across the film value chain, from development and production through to exhibition and distribution. We need stronger local and regional pathways that allow African stories to circulate widely within the continent, not only internationally. Globally, I hope to see African stories valued not because they fit external expectations, but because of their artistic excellence, complexity and cultural significance. I often find myself in awe watching documentaries from our continent, and I wonder why it is so hard to find them outside of the festival landscape. The future of documentary storytelling should be shaped by a diversity of voices, perspectives, and ways of seeing the world, with African filmmakers playing a leading role in defining that future.