IDFA Head of Industry on Hunger for Collaboration and Political Projects: ‘To Reflect on the World as a Filmmaker Takes Time’

As an admirer of Adriek van Nieuwenhuyzen, I must say her insights into the documentary industry are nothing short of enlightening. With her extensive experience at IDFA and her keen understanding of the challenges faced by documentarians, she paints a vivid picture of the current state of affairs in the field.

Last year’s industry focus at the International Documentary Film Festival Amsterdam (IDFA) prioritized the survival of documentarians due to shrinking budgets and reduced investment from European funding bodies such as public broadcasters. However, a year later, as the festival prepares for another edition, Adriek van Nieuwenhuyzen, IDFA’s head of industry office, regrettably reports that the situation has not improved.

In the context of documentary production across Europe and globally, she shares with EbMaster that the situation doesn’t seem to have significantly improved. Additionally, there are certain nations where political conditions hinder documentarians from producing their desired films. The struggle for filmmakers to earn a living persists, even as the relevance and importance of their work continues to grow.

During the specified time frame of November 14th to 24th, the festival’s collaboration and financial partnership market, known as The Forum, will be held from November 17th to 20th. The Forum consists of various segments such as the Forum Pitch, Rough Cut Presentations, Producer Connection, and IDFA DocLab Forum.

Van Nieuwenhuyzen was asked to discuss some dominant themes in this year’s projects at the Forum. Instead of one main theme, she noticed that many filmmakers are tackling social justice issues. Additionally, there are numerous smaller stories about marginalized LGBTQ+ communities and the effects of past events on current times. In summary, the projects showcase a rich blend of diverse narratives.

At this year’s Forum, van Nieuwenhuyzen points out two standout exhibits: “Transparency Booth: Echoes of the Future,” a Ukrainian venture delving into Soviet history and Perestroika to shed light on current political contexts, and “Dry Sky,” a deeply personal project by Ibrahim Omar set in a rural Sudanese village.

As a passionate film enthusiast, I must admit that the upcoming projects hailing from various parts of the Middle East at this year’s Forum are truly captivating. Among them, “The West Bank Project” by Kamal Al Azraq and Francesca Tosarelli, as well as Tomer Heymann’s “Issa’s House,” stand out for their thought-provoking perspectives on the ongoing tensions in the region. However, it is worth noting that I do not view these conflicts as the sole focus or defining characteristic of this year’s market. Instead, I see a diverse tapestry of stories waiting to be unraveled and shared with the world.

She notes that creative documentaries often delve deeper than everyday news. It’s not about instantly displaying yesterday’s events in our upcoming projects. Instead, it requires time for a filmmaker to truly consider and represent global happenings accurately.

Despite anticipating that the number of submissions would not surpass last year’s record-breaking 800, the IDFA team was proven wrong in 2024 as they received an “overwhelming” total of 820 submissions. The head of industry expressed that this figure is not only rich and substantial but also incredibly difficult because so many exceptional projects had to be turned down due to limited resources.

She further notes that this phenomenon isn’t exclusive to IDFA; it’s evident in other platforms with similar structures throughout Europe. People seem to be eagerly seeking various avenues for international partnerships, one might say they’re curious about global collaborations. The demand for collaboration is striking, and I find it inspiring. Even unconventional pairings like New Zealand and Nigeria are emerging.

One significant shift within the industry as observed by van Nieuwenhuyzen is the increased emphasis on teamwork and seeking multiple sources of aid, either through development projects or financial channels. She emphasizes that in contrast to just a few years ago, filmmakers are showing a broader interest, no longer solely fixated on major streaming platforms but instead welcoming various opportunities.

It’s become clear that there isn’t a single method for financing, and it’s been recognized as valuable to delve into alternative strategies such as linking up with numerous smaller entities and fostering cooperative efforts.

At this year’s festival, there are two distinct dialogues centered around Artificial Intelligence (AI). One is “AI and Documentary Filmmaking,” while the other is intriguingly called “The Humans Have Entered the Chat.” The festival kicks off with Piotr Winiewicz’s film “About a Hero,” which delves into the creative potential of AI. This exploration is done through a docufiction that uses AI software designed to emulate renowned German filmmaker Werner Herzog.

Van Nieuwenhuyzen expressed that instead of seeking specific answers, she’s more focused on provoking thought-provoking questions about AI and emerging technologies within the filmmaking community at this year’s festival. “We aim to inspire self-questioning among participants. ‘What resources are at our disposal? What impact does it have on us as creators? What are the moral and artistic dilemmas we face?’

Regarding this year’s questions surrounding IDFA, there’s an uncertainty hanging in the air, particularly since it will be Orwa Nyrabia’s last year as artistic director and Isabel Arrate Fernandez’s final year leading the Bertha Fund, the festival’s financial support arm. The head of industry expresses a sense of sadness, saying, “I miss working with Isabelle and Orwa.” However, they also acknowledge that change can bring new opportunities. They currently feel a sense of loss, but at the same time, view it as a privilege to have had these two influential figures associated with the festival for so long. Indeed, we are fortunate.

2024-11-15 11:47

IDFA Head of Industry on Hunger for Collaboration and Political Projects: ‘To Reflect on the World as a Filmmaker Takes Time’

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