Hollie Fifer’s documentaries are inspired by true life stories that are too bizarre and courageous to believe. Her first documentary was commissioned by Australian Volunteers International, “Children of The Rainbow Serpent,” set in Tamil Nadu, India. She went on to make “Common Ground,” which won seven awards from international and Australian festivals.

“The Opposition” will premiere at the 2016 Hot Docs Film Festival on May 3.

W&H: Describe the film for us in your own words.

HF: “The Opposition” is a David and Goliath struggle set on a coastal peninsula of Papua New Guinea’s capital city Port Moresby. There along the waterfront is the Paga Hill community who, for the last four years, have been desperately trying to defend their homes and their human rights in the face of a five star hotel and marina wharf development.

W&H: What drew you to this story?

HF: I felt an obligation to tell this story because of the human rights abuse I witnessed on May 12. 2012. It was my second day of filming and as I entered the Paga Hill community there were dozens of policemen with machine guns and machetes bulldozing the homes of the residents with no regard for their human rights.

The police open fired on the community who were watching as their homes were destroyed. When you witness something like that that then you have an obligation from that moment onwards.

I then found out that the Australian-run Paga Hill Development Company wanted to build a hotel and marina wharf on that land. As an Australian myself, I felt compelled to follow the trail.

When I went back to see how the community was rebuilding, I met Joe Moses, the leader of the community who was spearheading the legal case against the company. The community was very supportive of a documentary because they wanted Australians and the world to see how Papua New Guinean communities fight for their human rights.

W&H: What do you want people to think about when they are leaving the theater?

HF: I’m excited for audiences to get to know the Paga Hill community and especially the leader Joe, who, against all odds and threats, manages to stand up for so many families. It’s inspiring to see this community believe in themselves and their human rights even when everything is taken away from them.

But there’s also the dark side to this battle as we learn that there’s a massive gap between law and justice. I hope by the end the audience will think about the importance of respecting communities internationally in every business venture.

W&H: What was the biggest challenge in making the film?

HF: The biggest challenge faced to date hasn’t actually been in the making of the film but instead defending our right to screen it. One of the key characters who features in the film, former Papua New Guinean politician Dame Carol Kidu, recently launched court action against the production company Media Stockade, Beacon Films, and myself. Dame Carol is attempting to exclude her appearance and dialogue in the film by seeking an injunction. In order to attempt this injunction preceding the Paga Hill Development Company are indemnifying Dame Carol in her court action.

It’s an interesting time for the documentary as we are simultaneously preparing for the final hearing in the Supreme Court of NSW in Sydney and having our world premiere at Hot Docs with a redacted version of “The Opposition.” This version of the film brings an important discussion for independent documentaries and highlights the challenges of independent journalist.

I think once people see the film they will understand why certain interests don’t want the film screened to the public.

W&H: How did you get your film funded?Share some insights into how you got the film made.

HF: It took four years to make “The Opposition” and we started shooting straight away. The funding had to trickle in as we went. The first three trips I went solo and then once we had more support we were able to bring a cinematographer and a sound recordist.

“The Opposition” was funded through the support of Screen Australia, Screen NSW, and various philanthropic and documentary grants including Good Pitch Australia and the Bertha Britdoc Investigative Journalism Fund.

What is equally as important to the completion of the documentary was not only the funding but the support from our partners who have helped build the collective action around the film to enable it to be completed to its potential.

W&H: What’s the best and worst advice you’ve received?

HF: The best advice I’ve ever received is, “Think big — no, bigger.” I was researching the documentary idea and this advice assured me that nothing should scare you off an idea, the bigger the better. Ultimately these are the stories that need to be told, not a day in the life of the local baker boy, but the international land scandal where people are desperately trying to keep their families alive.

The worst advice I’ve ever received was, “That’s good enough.” Nothing should be simply “good enough.” If there’s room to improve, then dig deep and have the perseverance to make it right.

W&H: What advice do you have for other female directors?

HF: Follow and protect your instincts. There are so many people who come along in the process of filmmaking: They either see what you’re trying to do or they don’t.

Some people may even, for one reason or another, want to take over the project or sabotage it completely. Your instincts will allow you to stay true to yourself and the integrity of the film.

W&H: Name your favorite woman-directed film and why.

HF: “We Live In Public” (2009) by Ondi Timoner is an exceptional documentary with story twists too bizarre to believe.