Full Frame’s third iteration of our discussions on the lack of diversity in the documentary filmmaking field focuses on funding and programming. How do gatekeepers influence the ways documentaries are reviewed and adjudicated? Do diverse selection committees foster enough inclusion of equally diverse content? How can we create an inclusive field when the criteria we use to judge film may be embedded in an all-white Western European model? From foundations to film schools to festivals, does the definition of what is a “good” documentary need to change?