DoCma

We were looking for works that could arouse the interest of an international audience. Films from leading documentary festivals such as Visions du Réel, CPH:DOX, or IDFA, but also from top festivals such as Cannes or Berlinale. At the center
of our interest are auteur documentaries, especially debuts and second films,
hybrids, and works that revise film language or bring new and surprising approaches.
Through our selection, we explore the relationship between documentary films
and the audience experience.

The documentary film behaves like a chameleon, and we are interested to see
how it manages to unsettle the audience with regard to its close relationship
to reality, using unique formal elements. We see the documentary film as a tool
for learning about the world and we are looking for films with an anchored author’s vision—documentaries through which their creators search for their unique
position in the world. Even in the world of film and the changing audiovisual industry.
Important fragments of common history fall into oblivion or turn into myths.
In this sense, we map the space between individual and collective history, its record, and its informational value. What we call reality changes, and so does our perception of it. The documentary film medium loses its original position and gains new ones.
In the fluid present, in which it is increasingly difficult to objectively determine reality, individual experience is one of the keys to overcoming obstacles to the knowledge
of the world and its history.