Trisha Ziff has worked for the last 25 years as a writer, editor, curator, and documentary filmmaker. Her feature credits include “The Mexican Suitcase,” and “The Man Who Saw Too Much,” which won two Mexican Academy Awards.

“Witkin & Witkin” will premiere at the 2018 Hot Docs Canadian International Documentary Film Festival on May 1.

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

TZ: “Witkin & Witkin” is a film about identical twins, both acclaimed artists — a painter, and a photographer. I wanted to make a film that looked beyond their work to their relationship with each other and the world around them.

We see Joel and Jerome in their homes, not only making work in their studios. The models they work with speak about their experiences, and these are voices we don’t often hear — the studio assistant, the collector, their sister — as well as their partners. The women in their lives have supported their creative process in different ways but for the most part these contributions, as with many artists, are invisible.

“Witkin & Witkin” is a reflective film — it tells the story of two artists in the winter of their lives looking back, their survival, and personal losses. It tells a story of commitment, passion, and about being true to one’s own vision — two lives without compromise.

W&H: What drew you to this story?

TZ: I knew the work of both artists independently, and have great respect for their art; Jerome the painter, and Joel-Peter the photographer. Yet I knew nothing of their relationship. When I began making the film they rarely spoke to one another — only on their birthday or if there was a specific reason. The intimacy of twins we assume, and often consider “special,” yet in their case this did not kept them close, and they went their separate ways as young men.

I was fascinated by the contradiction of their distance, yet that the content of their work often resonates with similar themes and concerns, leading me to conclude that despite the distance, there is still a powerful connection.

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

TZ: Perhaps the film will prompt the audience to explore the work of the two protagonists, Joel-Peter and Jerome. Many people already know the work of Joel-Peter Witkin — he is one of the most celebrated photographers of the 20th century — but Jerome’s work is a marvelous surprise! But I hope the reactions of audiences go beyond this.

Joel-Peter Witkin speaks about seeing beauty in people and places most would dismiss. I think his photographs profoundly challenge dominant cultural notions of beauty. He speaks of “loving the unloved.” Both brothers display through their own work profound humanity. Loving the unloved is about kindness, about generosity. I think if an audience — through their stories — can reflect on that, this film will have served a bigger purpose [by offering] important ways of seeing, especially in these times.

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

TZ: For sure the biggest challenge was making a film [a dialogue between] two characters that never interact directly and never speak with each other even when in the same physical space.

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

TZ: The funding for this film tells its own important story. “Witkin & Witkin” is a Mexican film — over 95 percent of the funds came from EFECINE in Mexico — yet the language spoken in this film is predominantly English. The protagonists are American.

I think this says something important regarding Mexican cinema, and its breadth of seeing beyond its borders, and that culturally when looking north, the perception South to North is significantly different to [that of] the North looking South.

“Witkin & Witkin” is an independent film. The filmmakers own 100 percent of the film, and also have final cut.

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

TZ: This is my third visit to Hot Docs! But this year is special as Hot Docs is focusing on Mexican documentary, so to have “Witkin & Witkin” in this section of the festival is important. Immediately after the earthquake last October in Mexico, Hot Docs came through for filmmakers by extending waivers to everyone.

The majority of filmmakers — not only documentarians — immediately stopped work to participate in the rescue and support effort in the following days and weeks. Others were directly affected by the earthquake, losing their offices and homes. One of the most important archives in Mexico of popular Mexican cinema was also badly damaged by the quake in Tepotztlan — the effects were widespread.

This act of solidarity from Hot Docs was an important gesture but more than that I think within North American cinema, Canada and Mexico have an important role, and Hot Docs is a part of that strengthening cinematic dialogue.

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

TZ: I don’t think there is such a thing as worst advice but the best advice I believe came to me recently from an Israeli woman director. I was struggling around my current film in how I was addressing political issues I may not totally have empathy with. She said to me, “Trisha, people can only handle so much. One struggle at a time; be less judgmental.”

I hear her voice in my head often. I don’t think what she said applies only to those in front of the camera but [also] to our expectations of ourselves.

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

TZ: Women are good listeners. We of course come from different heritages and traditions but perhaps what we share in common is that often we are the keepers of personal narratives. I think in that way women are powerful documentarians. I would say to use this innate aspect of our gender to tell the very best stories.

Never think of yourself as anything other than empowered, and draw on the support and energy of other women — older women, younger women, women working in diverse cultural realities. Sisterhood is powerful. We do create change! Our voices matter. Never be an apologist!

The world is changing because women are demanding change, and the next generation of women directors will continue and improve on our legacy, I am sure.

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

TZ: Agnès Varda’s [films], without a doubt. For me coming from a history of photography, her work impressed me immensely — long before I made my first documentary. I think “The Gleaners and I” stands out in my mind but all her films. For me Varda brought documentary to a new way of storytelling; intrinsically feminist in both form and content.

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?

TZ: Who knew that the events last year with Harvey Weinstein and Co. would lead to this potential transformation in respect to women in our industry. From the outside looking in, at first it felt a bit Hollywood centric! We spoke of the fear of witch hunts; it felt precarious.

I think though that over these last months that has all changed. Those conversations have disappeared. What we are seeing now is, I think, something solid which can only continue to grow, not only in the film industry but impacting other industries.

The #TimesUp movement has, I believe, the possibility and collective will to make real and lasting change!