Film is an art form and creative practices can define our work as artists. In this panel, filmmakers with very different artistic styles share their creative processes in the documentary genre. Featuring Karla Murthy (Director, THE GAS STATION ATTENDANT), Colette Ghunim (Director, TRACES OF HOME) and Jessica Lee Salas (Editor, BEFORE THE MOON FALLS) in conversation with Theresa Navarro (Co-Director & COO, Catapult Film Fund).

This panel was recorded on May 7, 2026 during CAAM’s Filmmaker Summit at the KOHO Creative Hub in San Francisco Japantown. Made in partnership with A-Doc, with support from National Asian American Pacific Islander Mental Health Association (NAAPIMHA).

A major theme throughout the discussion is giving yourself permission to let a film change.

“I really wanted my film to feel like a visual diary, and kind of like a memory film. I wanted it to feel like I was painting, and doodling, and journaling and trying to figure out answers to questions I had in my dad’s life… and about mine. ” – Karla Murthy

Colette similarly explains that TRACES OF HOME began as a film about her parents’ experiences as immigrants and refugees, but evolved into something much more. She initially thought she needed to make a vérité film before realizing archival VHS footage, narration, and lyrical imagery better expressed the story she actually wanted to tell. 

There’s also a strong emphasis on collaboration and feedback as part of the creative process. Jessica describes how the director of BEFORE THE MOON FALLS, Kimberlee Bassford really wanted to give her room to experiment. Jessica had seen a rough cut and felt like all the pieces were they, maybe just not in the places they should be. 

The biggest takeaway: personal documentaries do not necessarily need to begin with a fully formed thesis or conventional structure. These filmmakers found their stories by remaining open to what their footage, memories, collaborators, and emotional discoveries revealed. 

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