I’ve been to every single Bend Film Festival since 2003. That’s not a brag. It’s just a window into how much I’ve watched this thing evolve over the decades, in ways almost exclusively positive. Back then, it was hard not to feel like I was standing (more like sitting and watching) the genesis of something special. I’ll never forget finding myself watching Ti West’s directorial debut, “The Roost,” at midnight in an old roller skating rink converted for the night into poorly heated pop-up cinema.
Slow fade to today. Led by Selin Sevinc (Managing Director of Programming and Artistic Vision), Christina Rosetti (Managing Director of Operations and Finance) and Clay Pruitt (Managing Director of Education and Development), the Bend Film Festival continues to grow sustainably and responsibly, with new and returning venues that are more centrally located, an influx of international filmmakers traveling to Central Oregon, an addition of a fifth festival day and a company culture that genuinely cares about the medium. It really feels like the fest is in a great place as we head into the 23rd one of these beauties on Oct. 7-11.
Then there’s Basecamp — the all-inclusive filmmaking retreat. It’s an exciting addition, not just to the fest, but to the cultural fabric of the city itself. It’s a bespoke experience built for filmmakers and artists and it’s inspiring to see cinemaphiles from around the globe land in Central Oregon — a region that frankly deserves a much larger footprint in the Pacific Northwest’s movie scene.
“We’re growing our audience year after year,” Pruitt tells me. “But we’re also seeing greater awareness within the film industry. At places like Sundance and IND/EX, we increasingly hear from filmmakers and industry professionals who already know about BendFilm and Basecamp and want to learn more.”
But none of this would matter if the films don’t deliver the same high quality the fest has become known for. As someone who watched a couple hundred during the screening process (as well as most of the films selected for the festival proper), I can confidently confirm that the lineup is as formidable as ever. From the wide-eyed first-timer to the seasoned pros, everyone will find something remarkable.
“This was a great year for docs, so we’re a little more doc-heavy than usual,” says Sevinc. “And regarding venues, we have some big news: We are bringing back the beloved McMenamin’s Father Luke’s and we’re using the Oxford Hotel Ballroom as a screening venue for the first time. All our screening venues are in a tight circle in downtown and the Old Mill. This creates more opportunity to move from theater to theater in large groups and freak people out.”
I’ll gladly second Sevinc’s take on the documentaries; a few of the best doc shorts and features I’ve seen in years will be screening this year. In fact, the shorts blocks themselves are so staggeringly strong that it’s impossible to even recommend just one.
Here are a few I’m in love with:
The block “Moment of Grace:” This has a mixture of Documentary and Environmental/Outdoor Shorts. One I hope everyone sees, “We’re Fine,” follows Ukrainian artists two years into the war as they construct a stunning, heartbreaking art installation at Burning Man out of war-torn street signs. It’s a visceral reminder that while art might not heal every wound, the beauty and freedom of creation offers a catharsis that’s hard to quantify or even explain. A truly remarkable story.
In the same block, Elif Koyutürk Hazen’s gorgeously shot “Guardians of Anatolia” follows a Sarıkeçili Yörük family migrating through the Taurus Mountains of Southern Turkey. It’s a visually intoxicating journey that proves how transporting documentary film can be when introducing us to a culture or region we have no frame of reference for. Meditative, beautiful and ephemeral.
From the flawless, throwback rotoscoping of “1981,” to the untold, essential legend of Luis Valdez in “American Pachuco,” the lineup is deep and varied. There’s the stunning and singular “The Cycle of Love,” the masterclass of subjective documentarianism of “A Derailment” and the genuinely squirmy, nightmare-inducing “Follicles.” But you also can’t miss the breathtaking “Mercy,” the future Oscar-nominees like “Gentle Monster,” “Hanging by a Wire,” “Paralyzed By Hope: The Maria Bamford Story” and “La Bola Negra.” Oh, and don’t forget the single most gorgeous animated short I’ve seen in years, “Saba,” or to the mesmerizing, groundbreaking doc short, “Still Standing.”
But please don’t take my word for it. When I asked Sevinc to carve out five must-see films, she delivered: “‘Paralyzed By Hope: The Maria Bamford Story’ (if you can get in, it’s the opening-night film!), ‘The Last Place on Earth,’ ‘Edward Said: Between Worlds,’ ‘When a Witness Recants’ and ‘Manhood.’ Also watch one of Rory Kennedy’s docs to hear her speak after them (they’re both great) and watch ‘Smoke Signals’ to hear Tantoo Cardinal speak because she’s a legend. As for events, I’m a big fan of our panel discussions, but as far as parties go, I like the Friday night after-party; it’s the middle of the fest week and a good time to talk about what you’ve seen so far and what you should see next while you still have time. But really, you can’t go wrong with any of them because festivals are about community.”
I second that recommendation for the Friday night after-party. Every one I’ve staggered out of has been more legendary than the last. Or don’t listen to either one of us and spend the weekend exactly the way it calls to you. Whether you’re arguing with a filmmaker from Brooklyn over an IPA about an animated short from Japan or getting your mind blown alone from a documentary about cheese, there’s no one way to do the festival correctly. But I promise, years from now, if you choose to come, you’ll definitely remember where you were when the lights went down.
Bend Film Festival
Oct. 7-11
bendfilm.org/2026-bendfilm-festival/ for tickets, passes, times and film info
This article appears in the Source October 1, 2026.
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