Business Doc Europe

Polish filmmakers Małgorzata Szumowska and Michał Englert talk to BDE about their new doc which, in turn, focuses on the work of a rehabilitation centre for victims of war, a Ukrainian transgender artist and dancer now living in Poland, and the Open Group artistic collective that explores the impact of the war on Ukrainian civilians. “I think we were quite sensitive observers,” says co-director Englert who, with Szumowska, learned the power of quiet observation when studying film in Łódź. “That’s the way of storytelling we always favour. Without words, you can say a lot.”

In their feature documentary Ice Women, selected for DOK.fest Munich, Jens Becker and Dorothea Braun set out to challenge the male-dominated story of Arctic exploration by shining the spotlight on the courage, resilience, and scientific contributions of women in the far North. For Braun, it all started with an old photograph of a woman in Arctic clothing wearing rifle. “I remember thinking: Why don’t I know her? Why have I never heard about women like her? The more I searched, the more I realized that the absence was not accidental.”

One of eccentric artist Arek Pasożyt’s pet obsessions is to find traces of the Tatra Mountains Panorama, a long-lost massive painting from the 1890s that was 115 metres long and 16 metres high - but that was broken up. In Bigger Picture, world-premiering at MDAG, Polish director Mikołaj Janik follows Arek on this journey. The artist is strongly left-wing, Janik tells BDE. He doesn’t believe in consumer culture, and he is relentlessly cheerful, refusing to become downcast about setbacks. He further likens him to an ancient knight on a heroic quest, or to “some kind of Indiana Jones…”

The Spanish Civil War has a strong personal resonance for director Ricardo Iscar. Back then, four bodies of workers murdered by the Falangists were buried in a field owned by his family in Salamanca. In the documentary, these bodies are finally being exhumed, and Iscar is there to film the process. Seeing how viciously the war divided Spain in the 1930s, Iscar has a warning for viewers: “Nothing is guaranteed. The democracy and civil rights we have, we have to fight to keep them…”

In María Molina Peiró’s Como Todo Mortal (Like Any Other Mortal), a remote robot searches a distant planet both for minerals and signs of life, while far way, beside one of the oldest mines in the world, inhabitants live surrounded by mountains of mineral waste under which are buried both towns and memories. “The main protagonist of this place [is] not even the people or the landscape, but its ecosystem that extends far beyond its own physical and temporal frontiers or limits,” says director Molina Peiró.

In his feature debut, new graduate Felix Lange follows Eastern European lorry drivers on strike in Germany, their action prompted by anger at allegedly unpaid wages. The context is grim. Over 300,000 drivers from these countries work in the EU - and many are being viciously exploited. At first, some of the striking drivers were wary of Lange in their presence. “But then suddenly I met this very close group of 10 Georgians and they took me in…” he tells BDE.

dok.incubator is looking for film projects from Czechia, Slovakia, Poland, and Hungary, as well as co-productions with these countries, to join the 2026 workshop. The renewed edition brings “an expanded two-part workshop format, more international tutors, direct feedback from decision makers, and a stronger focus on marketing, audience building, and smart distribution strategies,“ organisers underline.

More than 4500 industry professionals and creatives, among them Juliette Binoche, Joachim Trier, Ruben Östlund, Sandra Hüller and Francis Ford Coppolla, have signed an open letter calling for safeguards to film and audiovisual funding following the proposal to merge the MEDIA strand of the Creative Europe programme into the new AgoraEU mega-programme. “We, European cinema professionals and citizens – all cinema lovers – call upon the European Commission, European Parliament and Member States to future-proof the success and integrity of the vital and precious MEDIA programme and reinforce its resources,” the letter demands.

The award ceremony of the 5th MDAG Industry Awards took place May 10 in Warsaw after four pitch sessions, the presentation of 50 projects and over 350 one-on-one meetings. “This year’s edition brought forward stories that are too rarely heard, yet have the power to shift perspectives and expand our shared experience. We believe the projects presented within MDAG Industry will be bold, moving, and uncompromising, and will find their way to audiences around the world,” commented Industry Head Anna Szczypińska.

“This movie, for me, is not just a project. It has been part of my life,” said Soraya Akhalaghi at the beginning of a masterclass held at Millennium Docs Against Gravity in Warsaw, where she appeared alongside Iranian filmmaker Mehrdad Oskouei to discuss the making of A Fox Under a Pink Moon. The session, held on May 9 and titled “Remote Intimacy: Building Connection in a Distant Documentary,” focused on a seven-year creative process shaped by “distance, trust, danger and improvisation.”

Belarusian filmmaker Andrei Kutsila is currently in post-production on Letters (WT), a 90-minute documentary that portrays contemporary Belarus through the correspondences of people affected by political repression, imprisonment, exile and state violence. Produced by Mirosław Dembiński for Poland’s DocEdu Foundation, the film is a Poland-Germany-Lithuania co-production with inselfilm produktion and Moonmakers. BDE reports.

During the May 7 Opening Ceremony of the 23rd Millennium Docs Against Gravity, the feature documentary Fiume o morte! by Igor Bezinović was awarded the inaugural FIPRESCI Documentary Grand Prix, following a vote by members of the International Federation of Film Critics from around the world. The film has already received the European Film Award for Best European Documentary and was recognized at the Rotterdam festival, where it won both the Tiger Award in the Main Competition and the FIPRESCI Jury Prize.