Business Doc Europe

Two tragic stories are at the heart of What Will I Become? the new feature documentary from Lexie Bean and Logan Rozos (premiering in Generation 14plus and sold by Taskovski Films). Blake Brockington and Kyler Prescott were both young trans men. They were very different personalities. Blake was extrovert and charismatic, the “homecoming king” at his high school in North Carolina. Kyler was a quieter, more reflective personality, a poet and a musician. Both were to end up committing suicide. The directors discuss their film with BDE.

Finlay Pretsell’s documentary on the great Scottish artist, sold by Autlook and produced by Sonja Henrici and Pretsell himself, is as close as you can come to watching a major talent in full flow. “I was fascinated by what makes a great artist tick, I suppose,” the director tells BDE. “He’s almost in some sort of trance, making this work. This would take hours. We would often spend 12 to 15 hours [a day] in the studio.”

Traces, selected for Berlin’s Panorama section, addresses head-on the collective trauma suffered by survivors of conflict-related sexual violence (CRSV), as perpetrated by the Russian military on Ukrainian women and men since 2014. More so, the film is about the refusal to remain silent, and centres on Iryna Dovhan, head of SEMA Ukraine, who documents the testimonies of survivors. “You see these women, you see their faces. They're not covered. They're not blurred. They're ready to talk. They're ready to sacrifice their privacy for the sake of truth,” co-director Kovalenko tells BDE.

Tristan da Cunha may be the most remote inhabited island on the planet, but it is nevertheless the place where Loran Bonnardot, a piano-playing doctor from Paris, is determined to settle. His existentialist journey, part-fictionalised, is chronicled by Swiss director Tobias Nölle. “I saw in Loran a castaway from our hyper-competitive society, seeking an authenticity we’ve lost, on an island secluded from our war-torn world; a dream I wanted to transform into a cinematic experience,” he says.

In her new feature doc, a deep longing for motherhood, intensified by relentless pressure from those around her, compels a woman (Alejandra) to stage a false pregnancy, which leads to her eventual exposure and incarceration. “I always think reality is stranger than fiction,” Alberdi tells BDE. “I thought the events were extraordinary but, at the same time, quickly I connected with the questions about the depression of motherhood.”

The first documentary ever to open Berlinale’s Generation Kplus section, Brazilian Eliza Capai’s delightful feature engages the talents of a group of young girls to examine the business of…well, being young girls. As well as some other big topics, such as death and religion and their future lives. “I felt it was really powerful, because when we laugh about these topics in this crazy world, we are able to think about these topics,” Capai tells BDE of her experience with the girls. “We were able to create empathy.”

BFI (British Film Institute) announced February 16 tat it will continue to prioritise dedicated support of the UK documentary filmmaking sector, thanks to National Lottery funding. As part of the BFI National Lottery Funding plan 2026-29, Doc Society will receive £7.2m over three years as BFI’s UK-wide delegate partner to distribute documentary funding across features, immersive, shorts and support talent development - an uplift of 20% from the previous three-year period. 

CPH:INDUSTRY 2026 unveiled February 16 the full CPH:DOX SUMMIT & CPH:CONFERENCE programme (March 16–19), tackling the 'infrastructure of truth' under political pressure, platform power, and AI disruption. Anchored by the Summit's focus on ‘Safe Havens’ – independent spaces where voices circulate without algorithmic suppression and outside pressure – the programme extends into Conference sessions exploring ethics, sonic cinema, and future alliances.

FIPRESCI and the Millennium Docs Against Gravity festival announced February 16 the nominees for the first FIPRESCI Documentary Grand Prix, whose winner will be announced at the Opening Ceremony of the 23rd MDAG in May 2026. Members of FIPRESCI from around the world will vote on the new award which will be given to the best documentary film of the year.

At Berlin’s EFM, one of this year’s conversations about documentary form and legacy focused on Barbara Forever, Brydie O’Connor’s debut feature portrait of pioneering US experimental filmmaker Barbara Hammer. After bowing at Sundance last month, the film is celebrating its international premiere in the Forum Special sidebar of the Berlinale. BDE reports.

After its highly successful launch in 2025, NLWave, the showcase for upcoming feature films, documentaries and animation from the Netherlands, returns to Utrecht for its second edition on 1 and 2 October 2026. At last year’s inaugural edition, eight feature doc projects either at early stage or as works-in-progress, were presented. Additionally, three recently completed feature docs were screened.

The 45 participants come from 32 countries and 5 continents worldwide. During the 27th program, lasting eight months, all participants will develop their documentary projects, slates and their careers. This year’s first residential session will take place in Porto (Portugal) in March, the second session will be run in Tallinn (Estonia) in June and thw final session in Strasbourg. Numerous EURODOC alumni have projects at Berlinale 2026 within Forum Special, Forum and Panorama sections, as well as EFM.