Sarah Menzies’ documentary films have screened at Telluride Mountainfilm, Banff Mountain Film Festival, Port Townsend Film Festival, and many other festivals. She directed the documentary shorts “The Mirnavator,” “A Steelhead Quest,” and “Catch It.”

“Afghan Cycles” will premiere at the 2018 Hot Docs Canadian International Documentary Film Festival on April 29.

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

SM: “Afghan Cycles” started off as a short film about young women riding bicycles in Afghanistan. Over the past five years, it has turned into a coming-of-age story as we’ve watched them grow up and have to make very adult decisions. For some, these are decisions that no one their age should have to make.

Through the duration of the film, we see these women as young and idealistic, but that begins to shift as the security in Afghanistan worsens. By 2015, their tone changed, and for the first time in their adult lives, they felt the direct consequences by choosing to ride. Bicycles have given these women independence, freedom, and mobility. And despite the risks, they are doing what they are most passionate about — no matter the cost.

W&H: What drew you to this story?

SM: When I met these women in 2013, I was drawn to their courage to ride in a place that is not accepting of their sport. But what’s kept me going back and filming them as they grow up is something deeper than that.

I’ve gotten to know them, I care about them, and I feel very responsible for telling their story as authentically and true as I can. They represent what the bicycle, and sports in general, can do for women living in oppressive societies. It has given them freedom and independence, and with this vehicle, they are no longer reliant on a man.

I think that is an important story to share, and I am grateful to these women for trusting me to tell it from their perspective so it can inspire people everywhere.

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

SM: One of the main characters faces a tough decision toward the end of the film. Without giving anything away, I hope that the aftermath of her impulsive decision leaves audiences with plenty to think about — what are they most passionate about, and what lengths would they go to be able to keep doing it?

I also hope that after watching the film, viewers will look at the bicycle differently. Perhaps they will see it as the empowering vehicle it is, and that it can offer so much to young women everywhere in terms of freedom and independence.

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

SM: There were plenty of challenges along the way, but the most difficult hurdle was the language barrier. I am drawn to personal character-driven films, and to do that well, I work hard to build a solid foundation and relationship with each person I’ve profiled in my films.

Having a camera in your face is a scary thing — I know it terrifies me. I want to gain the trust of the people I film so that they can be comfortable and at ease with me. I had an incredible translator in Afghanistan that understood the importance of that, but no matter how good the situation was, it’s just not the same when you can only communicate with the third person to translate those intimate moments.

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

SM: We went the crowdfunding route which was a huge help and really built our audience of super fans early on in production. Liv Cycling came on as a funder within the first year, which essentially gave us our seed money to kick things off. That was really incredible. And since then it’s been a mix of me putting in my own money, as well as private individual donors that have joined our crew as executive producers in recent months.

W&H: What does it mean for you to have your film play at Hot Docs?

SM: Hot Docs has been on my short list of “hopeful premiere festivals” ever since we started this film. It will be my first time at the festival, but I’ve always heard such wonderful things, and I feel like it’s a perfect fit.

Honestly, I couldn’t be more proud to have my first feature documentary accepted into Hot Docs — it’s very surreal for me.

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

SM: Best advice: This came to me about seven or eight years ago when I was first taking the leap into this work. A friend said so simply, “What’s the worst that could happen? It doesn’t work out, and you do something else? That’s nothing to be afraid of!” And as cliché and simple as that may sound, it’s the advice I hold tightly when I’m having those “what am I doing with my life?!’ days.

I just remind myself that I’m doing what I’ve loved, and I’ve worked really hard to get here, but if this all falls apart or I don’t want to do it any longer, that’s perfectly alright and there are many things out there for me to do. I can’t imagine doing anything else, but just that seed planted in my brain saying that it’s alright if this doesn’t work out has been a real driving force for me.

Worst advice: To say yes to everything. In order to keep this film funded and moving forward over the past five years, I’ve had to say yes to many more things than I would have liked to. As “Afghan Cycles” comes to an end, and I take a deep breath and think about what’s next, I feel ready and confident to say no to things that just don’t speak to me, and trust that by saying no, that keeps the door open to the things I do want to work on.

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

SM: My advice is “jump in — the water’s fine!” It feels scary and intimidating, but you just need to go for it. And once you do make the leap, remember to trust yourself, stand up for what you want, protect the people you’re profiling in your films, and be true to yourself through the process.

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

SM: I am a sucker for anything Lynn Shelton creates and puts out into the world.

W&H: Hollywood and the global film industry are in the midst of undergoing a major transformation. Many women — and some men — in the industry are speaking publicly about their experiences being assaulted and harassed. What are your thoughts on the #TimesUp movement and the push for equality in the film business?

SM: I love everything about the #TimesUp movement. I find it really inspiring that it’s a movement that’s working to make a difference across all industries. In the film industry specifically, I have worked with plenty of wonderful men that I will continue to work with. I have also worked with men who didn’t treat me like an equal even though I was the one paying them and directing them.

I don’t think it’s as simple as men versus women. I think that the more this is discussed, the sooner it becomes clear that things need to change — and things are changing — which I’m really excited about as I work to establish myself in this industry. I am grateful for the brave women who came before me who have spoken out, and in doing so, have paved the way for my generation.

There’s still a lot of work to be done, but if those brave women remained silenced by those in power, we would not be seeing the progress that we are seeing today.