Esther Bannenberg oversees her second edition in charge of DocSalon, the Berlinale Pro section dedicated to all matters documentary, kicking off February 13 and running through to Feb 17. Located again in Berlin’s Documentation Centre for Displacement, Expulsion & Reconciliation, a 2-minute walk from EFM HQ at the Martin-Gropius-Bau, the programme is once again chock-full of panels, debates, interviews and presentations. The whole thing is rounded off February 17 with Archive Day when what many filmmakers consider to be the beating heart of doc is analysed both as a creative process and a vibrant business.
2026 seems to be a strong year for doccers at Berlinale, with scores of their films playing across all sections, and a K-plus doc opener Berlinale Generation section for the first time (The Fabulous Time Machine by Eliza Capai).
“Within the variety of interviews, talks and one-to-one conversations with the non-fiction filmmakers, we aim to touch upon their creative as well as their industry perspectives,” says Bannenberg of the dynamic between the festival and DocSalon. “At the same time, while offering this series of public conversations within the DocSalon/Archive Market, we attempt to make a modest contribution to the ever-increasing need and demand for visibility of the filmmakers and their work.”
Tanja Meissner, Head of Berlinale Pro, further underlines the sense of synergy between both divisions of the February event. “It’s always encouraging to see strong documentary representation across the Berlinale programme, and it certainly speaks to the vitality and diversity of the field right now. The programming is of course independent of the market, but the fact that documentaries are present across sections reflects the strength of the projects being made and the curatorial vision of the festival teams.”
“From our perspective, DocSalon and the [festival] are complementary spaces,” Meissner adds. “The festival showcases finished works and creative voices, while DocSalon provides an industry platform where projects, ideas, and collaborations can develop further. There is a natural dialogue between the two, but not a direct causal relationship. That said, a strong documentary presence in the festival programme does create a productive context for the DocSalon. It sharpens conversations, attracts international professionals, and reinforces the sense that documentary is central to the cinematic landscape. In that sense, the dynamic is one of mutual reinforcement rather than one making the other ‘easier’ — both thrive because the documentary ecosystem is active, ambitious, and internationally connected.”
As ever, there are events within the DocSalon programme that any self-respecting professional would be a fool to miss, such as the ‘How to Co-pro with Germany’ roundtable (Feb 14, non-fiction and animation), headed up by Simone Baumann of German Films, and the ‘Festivals as Engines of Inclusion and Talent Development’ roundtable, supported by supported by Doc Alliance and FFF Bayern (Feb 15).
Another must-attend event is the ‘Data on Impact, Please! Essential Needs in Non-Fiction Financing’ panel, supported by Doc around Europe and FFF Bayern, and populated by
Eric Friedler (HDF), Hanka Kastelicova (HBO), Dominic Willsdon (IDA) and Signe Byrge Sørensen (Final Cut for Real).
Bannenberg also flags up the ‘Moroccan German Non-Fiction Exchange Assembly’ and ‘Future Heritage, Securing the Future of Digital Cinema Archives’ panels, both on February 16.
“I think a mix of newcomer and seasoned execs, each with their different needs, can connect at ‘Meet the Festivals’ and ‘Consult the Experts,’ or with archive researchers at the ‘Archive Speed Consultations’,” she adds. “What excites me most is bringing in the networking dynamics at DocSalon and the Archive Market, to make sure that we facilitate business opportunities as well as strengthen the ties between creatives and industry execs [and] an open informal exchange on all levels, while serving the documentary eco systems to explore which innovations can help to overcome challenges and create new opportunities.”
Furthermore, the Berlinale doc boss underlines her programme’s ‘hub’ status within the international landscape, and her willingness to collaborate with other key European institutions for the benefit of the sector.
“DocSalon traditionally collaborates with collective organisations, this time including co-operatives such as Doc Alliance and Doc around Europe. This allows us to jointly identify essential topics from within the field, and bring various representatives to shed their light on these current issues. More than ever, it seems that solidarity and different ways of co-operation are essential to address the topical challenges, both creatively and commercially, worldwide,” she says.
In 2026, Doc Salon will also host a number of high-profile interviews, notably with Mark Cousins, who will premiere parts 2, 3 and 4 of his The Story of Documentary series, and the filmmaking duo Anna Fitch & Banker White whose YO (Love is a Rebellious Bird) is the only documentary in Berlinale Competition in 2026.
As ever, core to proceedings is the Feb 17 Archive Day, which enables representatives from leading international footage libraries to showcase their collections and entice EFM participants, while archive-related panels and case studies are also featured within the conference programme. These include a ‘Bringing Heritage Alive: Fireside Chat’ (hosted the evening before, i.e. Feb 16) with Shivendra Singh Dungarpur on film heritage, preservation, and the future of classic cinema; and a ‘Future Heritage – Securing the Future of Digital Cinema Archives’ panel, presented in collaboration with Mnemonica.
“The Archive Market is entering its seventh edition at the EFM,” Bannenberg reminds BDE. “This year we’ve tried even more to emphasize the mutual importance of documentary and archives. During DocSalon, some sessions already touch upon relevant topics such as the use of archival footage effecting the editing of non-fiction or the keynote by seasoned archive producers on how the archival process actually looks like in productions.”
Deadline’s Matt Carey will interview the likes of Brydie O’Connor (Barbara Forever) and Andres Veiel (Riefenstahl), about the intersection of documentary and the use of archival material.
One final, some may argue essential, question for Bannenberg. Is DocSalon’s geographical separation from Gropius Bau a boon or a burden?
“Of course, the core buying and selling dynamics happen at the Gropius. Simultaneously, some sales agents actually prefer the DocSalon location to organise their meetings,” she responds. “By the way, as we are starting to look for more synergy between DocSalon and Series Market, this time we’re also to be found with a Talk (Michael Zelniker on his Struggle for Mother Water, which screens at the Series Market Select) at the CinemaxX / Studio Babelsberg Lounge.
“The various panels and presentations, roundtables and networking sessions require space and attention. So more importantly, instead of potentially being disruptive within the Gropius and its wheeling and dealing, we offer the industry the opportunity to reserve slots that fit within schedules, which work differently from various perspectives. But everyone can decide to visit the screening rooms or the market venues at times, depending on your needs.”
“All we can hope for is to avoid slippery roads in Berlin later this week,” Bannenberg signs off (carefully).
