IDFA Head of Industry Talks on the State of Documentary Filmmaking, Social Justice, and the Future of Collaboration

IDFA Head of Industry Discusses the State of Documentary Filmmaking and the Growing Demand for Collaboration

As the International Documentary Film Festival Amsterdam (IDFA) gears up for its 2024 edition, the festival’s Head of Industry, Adriek van Nieuwenhuyzen, offers an insightful look into the state of the documentary industry. With budgets shrinking and European funding bodies, including public broadcasters, cutting back on investment, the challenges facing documentarians have only intensified.

“I don’t think things have improved much in the past year,” van Nieuwenhuyzen admits. “The industry is facing a difficult climate, not just economically, but politically too, which makes it harder for filmmakers to create the work they are passionate about. The need for their voices has never been more urgent, yet sustaining a career in this industry remains challenging.”

This year, IDFA’s industry program sees a continued emphasis on supporting documentary filmmakers, especially in the face of increasing global uncertainty. The festival’s co-production and co-financing market, the Forum, takes place from November 17-20, showcasing projects exploring everything from social justice to personal stories of marginalized communities. Despite the challenges, van Nieuwenhuyzen notes an encouraging trend: a surge in international collaboration.

“The appetite for collaboration is stronger than ever,” she says, pointing to projects like New Zealand and Nigeria teaming up in unexpected partnerships. “Filmmakers are no longer focused solely on big streamers, but instead are finding creative, smaller avenues of funding and support.”

Social justice issues are front and center at this year’s Forum, with documentaries addressing the ongoing challenges faced by LGBTQ+ communities, the impact of past events on the present, and geopolitical conflicts. One standout project is “Transparency Booth: Echoes of the Future,” a Ukrainian film examining Soviet history and its relevance to today’s political landscape. Another, “Dry Sky,” takes a personal look at life in a small Sudanese village.

While there’s no single dominant theme this year, van Nieuwenhuyzen highlights a growing trend of filmmakers turning their lenses on societal issues and pushing the boundaries of documentary storytelling. However, the industry is not immune to the harsh realities of funding and distribution. With over 820 submissions this year, a record number for IDFA, the team is faced with the tough task of turning down outstanding projects due to limited resources.

“We’re seeing a huge demand for new stories and fresh perspectives,” van Nieuwenhuyzen explains. “But it’s painful to see so many great projects left behind. It’s a problem shared by other platforms across Europe.”

The future of filmmaking is also heavily influenced by new technologies, with AI being a significant topic of discussion at this year’s IDFA. The festival has organized multiple sessions, including “AI and Documentary Filmmaking” and “The Humans Have Entered the Chat,” to explore how emerging technologies can impact the industry. “We don’t have all the answers, but we want filmmakers to think critically about the role of AI, its ethical implications, and its potential as a tool for creative storytelling,” says van Nieuwenhuyzen.

This year’s edition marks a bittersweet moment, as IDFA bids farewell to artistic director Orwa Nyrabia and Bertha Fund head Isabel Arrate Fernandez. “It’s sad to see them go after so many years of collaboration,” van Nieuwenhuyzen reflects. “But change also brings new opportunities, and we look forward to what the future holds for the festival.”

Despite these uncertainties, the spirit of collaboration and the dedication to championing diverse voices remain at the core of IDFA. As van Nieuwenhuyzen puts it, “Documentaries have always been a space for reflection, for asking important questions, and for bringing different perspectives to light. The demand for this kind of storytelling is only growing.”