Fenell Doremus is an award-winning producer based in Chicago.

Writing my bio has always felt like ticking off a grocery list—a perfunctory task stripped of heart, context, and authenticity. It's a third-person narrative that kicks off with an Academy Award-nominated film (okay -- some habits die hard) and then checks off the years, the brilliant directors, and the hard-earned accolades, all while walking the tightrope between sounding boastful and total imposter syndrome, "How did I get so lucky!?" But bios like that fail to capture why I’ve stayed in this unpredictable documentary industry for over 25 years. If you want the list, you can find it in my résumé here. If you want my story, keep reading.

Indeed, walking the red carpet in rented formal wear alongside colleagues who’ve poured their lives into a film for years is a rare and beautiful experience. But it pales in comparison to the satisfaction of taking a concept, cracking it open, turning it inside out and back again and in the process crafting a compelling human story that moves an audience—whether it compels them to take action, deepens their understanding of an issue, or stirs emotions they hadn’t yet felt.

It all started for me with an internship at Kartemquin Films, the legendary documentary organization that was in the throes of editing the break-out documentary HOOP DREAMS.  Through hours of transcribing interviews (before A.I.), I watched how director Steve James built deep connections with his subjects, giving them a platform to voice their stories with compassion. As I logged footage (pre-digital), I saw how Peter Gilbert’s camera work became invisible, letting real life unfold in all its nuance. From those early, hands-on experiences, I learned what it takes to craft a story—the tempo and arc of a narrative. And as the film went to make history as the highest grossing theatrical documentary film of its time, I learned how to ethically honor the subjects of a film through profit participation that included over twenty of the film’s subjects.  I was hooked.

I stayed at Kartemquin for the next eight years, wearing multiple hats across various projects. I learned sound recording on an all-women crew on 5 GIRLS when we couldn’t find a female sound person. I took on editing for A YEAR ON TEEN ST. when the budget couldn’t support an editor, and on THE NEW AMERICANS as one of the producers most familiar with the nuances of a particular scene. I was handed work-for-hire projects where in a trial-by-fire fashion, I learned the essentials of producing. With each new role, I gained more practical skills. But the larger lessons learned at Kartemquin - ethical storytelling, commitment to craft, and creative collaboration have served as the scaffolding for the filmmaking career I’ve continued to build.

When I left Kartemquin I gravitated to producing in part due to my compulsion to be organized and on time. But that’s just part of what my producing has been. As Co-Producer on Abacus: Small Enough to Jail, I honed my eye for detail, working meticulously with Frontline’s legal team to vet every line of the film. As Field Producer on RINGSIDE, I made protecting the personal lives of our participants a high priority. As Consulting Producer on LET THE LITTLE LIGHT SHINE I encouraged the inclusion of multiple perspectives. As Co-Producer on COOKED: Survival by Zip Code, the relationships I built during production laid the foundation for an ongoing community engagement campaign, long after the film’s release.

Beyond producing, I’ve dedicated much of the past few years to addressing broader industry issues—career sustainability, recognition for producers, and increasing equity in documentary filmmaking. As an early member of the Documentary Producers Alliance (DPA), I helped draft the DPA’s Crediting Guidelines, an effort to create, stabilize, and standardize crediting as a first step in helping to make the field more inclusive and sustainable. Now, as the Midwest Representative for the DPA, I work closely with regional organizations to strengthen the Midwest’s documentary ecosystem. It’s an honor to collaborate with such a dedicated and passionate cohort of producers worldwide.

Whether working to make the industry better for all of us, helping to bring a documentary into the world or creating a fundraising video for a nonprofit,  I’m always driven by a deep love for the documentary form. That’s what keeps me on this unpredictable, exhilarating path.