On February 16, EFM hosted a candid roundtable that examined gaps and opportunities in international documentary co-production between Germany and Morocco. The Moroccan–German Non-Fiction Assembly, organised within the DocSalon strand in partnership with Morocco’s Cinematographic Centre (CCM) and FIDADOC Agadir, brought together producers, broadcasters, festival programmers and filmmakers to explore how ties between the two industries might be strengthened in practical terms.
The event formed part of the Berlinale’s Morocco in Focus programme, designed to spark dialogue around training, co-production and distribution. Participants included Hicham Falah of FIDADOC, Adele Kohout of DOK.fest Munich, Simone Baumann of German Films, Hind Bensari of broadcaster 2M, Deutsche Welle commissioning editor Tim Klimes, producers Merième Addou, Bärbel Mauch and Thomas Kaske, filmmaker Ali Essafi, Stephanie Fuchs of Autlook Film Sales, Goethe-Institut Morocco representative Philip Küppers and World Cinema Fund’s Susann Kniessner.
From the outset, the discussion gravitated towards a recurring question: why do Moroccan documentaries still struggle to find German co-production partners despite evident interest on both sides?
Producer Addou framed the challenge in personal terms, likening co-production partnerships to long-term commitments rather than opportunistic funding arrangements. “Producing is like marriage,” she said. “You meet somebody and you say it’s the right person – it’s not like choosing the ‘citizenship’ of the project.” While she had occasionally been in contact with German producers interested in her work, she sometimes felt the potential commitment stemmed more from available funding opportunities than from a genuine creative relationship.
That dynamic partly explains why Moroccan producers often default to French partners. Shared language and institutional familiarity make co-productions easier to sustain, Addou noted, adding that such continuity “is worth more than money.”
Filmmaker Essafi agreed that curiosity about Moroccan work certainly exists in Germany, but observed that interest often comes after films are completed rather than during development. That, he suggested, points less to linguistic barriers and more to structural issues, such as limited opportunities to meet potential partners early on.
Producer Kaske echoed that view, arguing that when initiatives with strong funding frameworks are created, collaboration tends to follow naturally, suggesting that the problem lies more in access points than in a lack of interest.
Several participants identified the shortage of dedicated networking spaces as a key obstacle. Falah, whose festival has supported African documentary talent since 2008, insisted language was no longer the main issue. “The question of language is not a problem,” he said, noting that younger filmmakers are fluent in English. Instead, he stressed the need for more structured development programmes that prepare filmmakers to compete globally.
Falah (FIDADOC) also pointed to presentation skills as a practical barrier. Moroccan filmmakers may spend too much time writing “just like French,” he joked, but more seriously he said film schools may not devote enough time to pitching techniques. At FIDADOC residencies, he added, significant attention is paid to helping filmmakers refine their proposals.
Producer Mauch, who has collaborated across Francophone Africa, agreed that personal connections remain crucial. Even when German partners can offer resources such as access to the World Cinema Fund, projects still hinge on trust between individuals.
Broadcasters present at the assembly highlighted their own editorial constraints. Hind Bensari explained that 2M produces, acquires and pre-buys documentaries, typically working with European distributors presenting catalogues. While 2M prioritises Arabic-language films, the key requirement is resonance with Moroccan audiences. European titles such as Notes on Displacement or End of the Road can find slots if they connect with local interests. Most importantly, she noted, filmmakers should approach the channel with at least one Moroccan producer attached, and with projects that fit standard TV durations of 52 to 90 minutes.
Commissioning editor Tim Klimes described Deutsche Welle’s challenge of covering global stories across numerous territories. Broadcasters, he said, often turn to countries when major events occur – protests, sports tournaments or political upheaval – so filmmakers must pitch projects that “open a window into your society”. He later acknowledged this tendency as a form of self-criticism, recognising that more stable countries such as Morocco may receive fewer commissioning slots.
Bensari confirmed that paradox from her own experience: because Morocco is relatively stable, it sometimes becomes harder to secure international attention for Arabic-language stories.
Festival programmers and funders stressed the importance of mobility and early engagement.
Adele Kohout highlighted residency programmes at DOK.fest Munich that depend on funding availability, while German Films chief Simone Baumann underscored that presenting a Moroccan story also requires considering how to reach German audiences or secure theatrical distribution – an increasingly competitive challenge.
Baumann noted that Germany historically lacks strong cultural ties with Morocco, but insisted the situation remains open-ended. Essafi, however, suggested that Moroccan diaspora communities in Germany could help bridge that gap.
Goethe-Institut’s Küppers saw encouraging momentum in bilateral relations, pointing to Germany’s role as a major investor in Morocco. Transforming economic partnerships into cultural ones, he said, should be a priority. He also urged better promotion of programmes such as Erasmus+ or Berlinale Talents among Moroccan filmmakers.
World Cinema Fund’s Susann Kniessner Kniessner confirmed that some Moroccan projects have been supported in the past, encouraging producers to apply and noting that the fund’s money largely goes directly into projects in the region.
Stephanie Fuchs (Autlook) reminded the room of market constraints. Creative documentaries often rely heavily on festival premieres and critical recognition before distributors commit, especially when topics do not immediately resonate with local audiences. Building a track record, one participant noted, can gradually create trust: once a filmmaker has achieved international visibility, subsequent projects attract earlier interest.
Moroccan funding limitations also surfaced. According to Addou, the CCM currently supports only two documentary projects per year, although co-production schemes with Moroccan TV can open doors internationally. Kaske added that European broadcasters and producers should do more “homework” when evaluating Global South stories that might not initially seem relevant to domestic audiences.
Despite the challenges, the mood remained constructive. Participants agreed that targeted networking events, training initiatives and broadcaster engagement could produce tangible results. Falah described the assembly itself as a first step towards imagining practical collaborations. Even small initiatives, he argued, could grow into sustained partnerships.
During the closing Q&A, one audience member suggested the creation of a German–Moroccan co-production treaty. “If there’s nothing official, we can keep talking all the time,” he insisted. “For example, Morocco has created a cash rebate programme and shoots are coming. A co-production treaty would be beneficial too.”
For an industry that often speaks about inclusion in abstract terms, the gathering offered a grounded exchange about the mechanics of co-production: trust, access, preparation and – above all – persistence.
