Chloe Sosa-Sims is a Toronto-based director, producer, and writer. Her feature debut, “Dan and Margot,” illuminated the complicated truths of schizophrenia. Sosa-Sims has participated in the UnionDocs Documentary Lab, RIDM Talent Lab, and the ReelworldE20 Program for her new film on women in politics. Her work spans independent documentary, television, branded content, and narrative shorts for CNN, VICE, CBC, History Channel, Super Channel, TVO, Investigation Discovery, Oxygen, and A&E. Her previous work includes five years as the Industry Programmer at Hot Docs.
“Hunting in Packs” is screening at the 2022 Hot Docs Canadian International Film Festival, which is taking place April 28-May 8. Find more information on the fest’s website.
W&H: Describe the film for us in your own words.
CS: The film dives into the high-stakes and absurd institutions of western politics. “Hunting in Packs” follows politicians Michelle Rempel Garner (Canada), Jess Philips (UK), and Pramila Jayapal (USA) through elections, leadership campaigns, and their efforts to enact bold new policies.
I tried to use subtle satire and humor to highlight the political circus, while simultaneously showing the very real plight and stakes of what it means to be a woman in their respective positions.
W&H: What drew you to this story?
CS: I was initially drawn to the topic because I was interested in the general lack of female representation in politics, and what the barriers were in terms of entering this space. I think on some level I’ve often fantasized about getting into politics — to have the confidence and belief in your individual ability to change systems, laws, and policies is spectacular. It inspires me.
Once I met the women who became my subjects, and I was able to follow their journeys, I became interested in how those narratives reflected a larger truth. If you are a strong-willed outsider, women or not, going into politics with decisive goals – can you succeed? What do you have to compromise?
W&H: What do you want people to think about after they watch the film?
CS: I want them to think about politicians as human beings, first and foremost. I want them to consider the ups and downs you face as a person who deeply cares about their community and country. I want them to understand the courage and bravery it takes to enter politics – especially if you’re a woman or from any under-represented community. And I want people to walk away with an understanding and compassion for people of all political stripes; just because you don’t share the same values as someone, it doesn’t mean you can’t understand what motivates them.
I also would love people to consider the absurdity of our political systems at times, and how it really doesn’t encourage or even allow individuality.
W&H: What was the biggest challenge in making the film?
CS: As with most films, funding was a challenge. Not having the funds to pay myself meant I couldn’t take much time away from paid work, meaning I didn’t always have the time I wanted to give to the film, and/or I wound up working all of the time. Still am! I realize this is a self-created dilemma, so I’m not trying to say woe-is-me. Filmmaking is a privilege and I recognize this every day, which makes the hard work worth it.
Also, filming during the COVID-era was not ideal. For example, I flew from Toronto to Seattle to film with Rep. Jayapal for the day, flew back that night, and then had to quarantine for two weeks.
W&H: How did you get your film funded? Share some insights into how you got the film made.
CS: The road to funding this film was quite long. We started with some development financing from the CBC Documentary Channel, the Canada Media Fund, and Ontario Creates. When it came time to finance production, there were a number of hurdles, including COVID. I was scared we wouldn’t have a film in the end.
One of our big saving graces came from the Hot Docs Ted Rogers Fund, and then I received a Canada Council for the Arts grant shortly after. And before we finished the film, Super Channel came on board, which made us eligible for tax credits, and the National Film Board Filmmakers Assistance came through in the 11th hour, which was exactly what we needed to get over the finish line.
W&H: What inspired you to become a filmmaker?
CS: I had gone to film school and while I loved the creative process of making content, I never considered that directing could be a real job or one that I could ever succeed in. It was only when I was working at Hot Docs as an Industry Programmer that I met directors and producers and I realized they weren’t unlike me. They didn’t have special powers.
And then an opportunity came along to tell my friend’s story in “Dan and Margot” – the first film I made and co-directed. A close childhood friend was diagnosed with schizophrenia, and I felt passionate about sharing this story, having seen her courage and the stigma she was forced to carry.
W&H: What’s the best and worst advice you’ve received?
CS: When I quit my job at Hot Docs to pursue filmmaking and directing, a producer I knew told me it was a terrible idea – to set myself up for emotional and financial struggle. This was both the worst and best advice I’ve received. He was right — the emotional and financial struggles have been real at times.
When I first started in the industry, I was naïve. I jumped into a bunch of different creative endeavors, believing that I could do it all at once. I experienced failure and time spent on projects that went nowhere. But I don’t regret any of it. I’m happy in the place I am now; I’m super proud of “Hunting in Packs,” and I feel good about the direction my career is heading in. So, I say embrace the naiveté while it’s fresh. Do you know anyone who has ever regretted a risk? I can’t say I do.
W&H: What advice do you have for other women directors?
CS: I don’t feel like I’m in a place to give advice. I feel like up until a month ago, I had no idea where this film was going to end up, and I’m still figuring out what is next for the film and myself. Perhaps take it day-by-day and be grateful for the opportunity. Appreciate every step of the process and always be curious. I’m never not learning. Oh, and try to laugh when you fuck up.
W&H: Name your favorite woman-directed film and why.
CS: My favorite woman-director is Sarah Polley. “Stories We Tell” re-invented the wheel for me personally. I know that recreations and hybrid films are really common now, but at the time, what she did felt so new and special. I also love “Take This Waltz.” I found it deeply authentic and relatable to my own existence. I also find her to be ridiculously eloquent.
W&H: How are you adjusting to life during the COVID-19 pandemic? Are you keeping creative, and if so, how?
CS: The pandemic has definitely made me more of a homebody, while also acknowledging and appreciating the importance of community and my close relationships. I like seeing people in person and I’m tired of sitting in front of my computer. I’d like to say I’ve blossomed creatively. Let’s just say I’ve become a slightly better cook and I’m enjoying my foster dog, who gives me a reason to go outside.
W&H: The film industry has a long history of underrepresenting people of color onscreen and behind the scenes and reinforcing — and creating — negative stereotypes. What actions do you think need to be taken to make Hollywood and/or the doc world more inclusive?
CS: It’s amazing to see more funds popping up for filmmakers from underrepresented communities, as well as gatekeepers acknowledging the importance of sharing more diverse stories. I think at this moment, we really need to see people in the directing and writing chair who come from the communities they are telling stories about. Every time a film is funded and given a platform, this question needs to be asked: what is the unique perspective, angle, or style being brought and why is this the person to tell this story?
