2026 RIIFF Filmmaker Spotlight Series: Father Spencer, directed by Hudson Shelton
Article Written By Roman Olavarria
Hudson Shelton, in his piece Father Spencer, captures his interpretation of the essence of New England and where people like Father Spencer work as a light to their communities while also being a part of them. In this documentary, Shelton follows the daily happenings of Father Spencer, an episcopal priest from St. Paul’s Episcopal Church in Wickford, Rhode Island. In chatting with Shelton during the festival, we briefly discussed the ideas of living in New England and how the aesthetics of the region work in tandem with the people and their emotions. Shelton’s documentary style in this piece relies solely on the subject’s willingness to share paired with Shelton’s eye for aesthetics and creative choice, showcasing the different environments that reflect feelings of isolation, community, and adaptation within changing communities. Shelton discusses his process and main inspirations in the manifestation of his work.
Roman Olavarria: Your film Evaders seems to have had a larger cast and crew with a narrative storyline. What was the transition like to focusing on an individual subject in a documentative style for your film Father Spencer?
Hudson Shelton: Father Spencer was my first nonfiction project, so I had to quickly adapt to shooting and recording sound with only one other collaborator, and to assessing multiple locations with no preparation. It was a wonderful exercise in trusting my instincts and making quick, decisive choices, something that has stayed with me in my narrative work since. I first saw Father Spencer speak at a university, where he read some of his poetry, and more importantly, read excerpts of Counting Time Like People Count Stars, a book of poems he compiled while teaching poetry at an orphanage in Honduras. It was immediately clear that Father Spencer was a very special person, and once we spoke, I could tell he was an extremely trusting person. He even welcomed me into his home and I’d say that we really built this documentary together. That trust, more than anything, is what made the shift from narrative work to fiction so easy. Without a script, most of the storytelling happened in the edit, which I took on and which became my version of writing, shaping what we had filmed into a narrative.
RO: What was the process like to capture what felt like an authentic depiction of a New England aesthetic? What do you think are some of the things at the core of a present-day New England aesthetic and why?
HS: I did not grow up in New England but I went to College in New Hampshire and have come to love its seasons. The first important step was gauging the location, a small New England town in Rhode Island, where the architecture of Father Spencer’s residence and St. Paul’s Church quickly became central to the aesthetic. The church was built in 1847 and has a breathtaking spire and rich stained glass windows, and its frames within frames let us study Father Spencer’s posture as he moved through the space. On our second night there was a snowstorm, which only strengthened that New England feeling.
I think the present-day New England aesthetic’s core is seasonal light, weathered architecture and, even more importantly, a sense of stillness. It feels like some small towns exist outside of time. That tension even surfaces directly in the film when Father Spencer and Dr. Su have a conversation about the local hospitals expanding and being bought out by a larger hospital system. It’s a small moment, but it captures where modernization and tradition come to a head, which felt like it was quietly at the heart of the aesthetic I was trying to capture.
RO: What was the communication when filming like between you, crew, and your subject, Father Spencer? For your documentary, what was the balance like between simply documenting and directly questioning?
HS: I filmed Father Spencer over the course of two days, and because of the limited time, I wanted to film a completely observational documentary. When I first began watching documentaries, I watched a lot of Frederick Wieseman’s work, and the fly-on-the-wall approach always stuck with me. My collaborator, Malo Riou, was mainly in charge of the camera, and working with only one person let us keep a focus and clarity of communication that can get lost on bigger sets. As a director, that made me feel like I had a real sense of control over the film, even while staying observational with Father Spencer himself.
RO: What have been some of the most pivotal experiences so far for you as a filmmaker and why? What personal experiences make up your largest influences regarding your work in film?
HS: I think so far the most pivotal experience has been, for me, attending the NYU Graduate film program. I am headed into my second year and could not be more excited. Having the opportunity to wholly focus on filmmaking, while studying under professors that I immensely look up to is a luxury that I will never take for granted.
As for personal experiences, as a kid, I was really into photography, but I always wanted to tell a bigger story than a single photograph could hold. I got my first camera around the same time I moved to Shanghai with my family, and that experience was definitely formative, as I always wanted to find ways to communicate what it’s like living abroad with the people back home.
RO: Father Spencer works a lot with his community, even hosting an art festival in July 2026. What was it like being within Father Spencer’s community while filming?
HS: Father Spencer is the most selfless and community-oriented person I have ever met. He quickly introduced me to the people who worked at St. Paul’s as well as those in his parish. I was welcomed with open arms and generosity, as everyone seemed to be passionate about art and the film from the onset. I believe that I had the greatest privilege of working with those in his community because of how giving and artistically inclined they all were. It made my job extremely easy.
RO: What resonated most with you about Father Spencer, the subject, and why? What do you think will resonate most with the audience?
HS: Father Spencer’s compassion and use of religion really inspired me. Father Spencer and his entire congregation view the words of the Bible as a way to be radically non-judgemental. When I first spoke to him it became crystal clear to me that oftentimes religion is used to judge others and put them down, when instead it can be a way to never judge those around you and love everyone unconditionally and fairly. I hope that this resonates with audiences and maybe tears down preconceived notions some have about religion as the experience did for me.
RO: Do you have a favorite moment in the film? What makes it your favorite?
HS: My favorite moment in the film is near the beginning when Dr. Su and Father Spencer are having dinner. Dr. Su decides to read a poem from Father Spencer’s unreleased collection and Father Spencer feeds his dog, Mr. Coconut, so Dr. Su is not distracted. I love this moment because it’s a very humorous and human encounter. It is also a special moment in the film where we get to hear Father Spencer’s poetry, which is so powerful and intimate and I think sets the entire film up for deeper understanding.
RO: What are some projects that you have coming up? Anything that you are particularly excited about?
HS: I am working on a gothic horror short film set to shoot in Montana in December. I’m excited because it will be shot in 16mm film and will be another story about rural America. Beyond that, I hope to continue filming Father Spencer in the upcoming years, a little at a time, in hopes of making a feature documentary.
