The T/F 2013 “Revolving Doors” panel brought together two filmmakers with work traversing the fuzzy boundary between fiction and documentary. Sarah Gavron spent a year in a remote Greenland community creating her doc Village at the End of the World (T/F 2013) and is currently developing Suffragette, a fictional film staring Carey Mulligan as an early feminist foot solider. Joshua Marston is responsible for the grounded, reality-infused films Maria Full of Grace and The Forgiveness of Blood. In conversation with moderator Eugene Hernandez, the pair tried to discover just what the two branches of cinema have to say to one another. How do fictional films capture the documentary “sense of discovery”? How does a documentary “honestly” utilize fictional elements? Do “based on a true story” movies cheat?