News

The winners of the East Doc Platform 2026 were announced on March 24 at the French Institute in Prague, where a total of 16 awards were presented across the programme, recognizing outstanding documentary projects at various stages of development. “The winning projects showcase a compelling and diverse slate defined by bold artistic vision, urgent social themes, and strong international potential,” write organisers.

The Central European Documentary Co-production Market (June 3 – 5) is held every year during the Krakow Film Festival in Poland. Building on its Central European location, CEDOC nurtures a cooperation between East and West, North and South with a special focus on Central European projects and talents. The event, organized since 2015, is part of the DOC LAB POLAND and KFF INDUSTRY program, which consists of workshops, consultations and pitchings of Polish documentary projects (DOCS TO START and DOCS TO GO).

Ji.hlava IDFF has repeated its call for the next Emerging Producers programme that will run 2026 through 2027. Every year the festival selects 18 talented producers (17 European and one representing a guest country, this year Japan), which it provides with educational, networking and promotional support. The applications deadline is March 31.

Traces by Alisa Kovalenko & Marysia Nikitiuk, and Morad Mostafa's Aisha Can't Fly Away win the festival’s Grand Jury Awards. Other winners include Cutting Through Rocks by Sara Khaki & Mohammadreza Eyni (Activist Lens); This Is My Body by Jérôme Clément-Wilz (Justice Frame); Between Brothers by Tom Fassaert (Dutch Focus); and Rahhala: Hayya ala Hayya by Lujain Jo (Shorts).

The Greek Documentary Association has repeated its call to the international doc community to sign a petition over the restriction of cultural content on Greek Public Television, and in particular over the transformation of ERT2 into a channel for exclusively sports-oriented programming. “We invite you, as members of the global documentary community, to stand with the Greek Documentary Association in defending a fundamental principle: that culture, documentary storytelling, and the free expression of creative voices must remain at the heart of public broadcasting,” the organisation writes.

Visions du Réel returns for its 57th edition (17 – 26 April 2026) with a programme featuring 164 films from a record 75 countries. While the representation of women continues to increase (44 %) compared to 39% in 2025, the Festival will also feature 7% co-directed films, as well as 1% directed by non-binary people and 48% by men. Among the 128 new films presented, 83 are world premieres and 8 international premieres. 58 first films, including 36 first feature-length films, complete the picture, with no fewer than 26 Swiss (co)productions.

Romanian filmmaker Radu Ciorniciuc presented his new investigative documentary project, titled Director’s Cut, at the CPH:DOX Forum 2026, offering a behind-the-scenes look at humanitarian aid operations in times of war, and the murky intersection between crisis response, political influence and media narratives. “Slowly, I understood that goodwill here is laundered into power, control and profit,” he says.

The NEFTi International Short Film Comp and Movies That Matter Festival announced March 23 a new partnership to support displaced filmmakers living in the European diaspora and across the African continent. The organisations have together launched the 2026 NEFTi Competition, aimed at identifying and supporting emerging filmmakers whose perspectives are shaped by global displacement.

A new documentary exploring the life and work of largely overlooked African-American photographer Alvin Baltrop (1948-2004) was pitched to industry professionals at CPH:DOX Forum. The film, titled Letter to Alvin, is directed by Hilton Als and Göran Hugo Olsson, and produced by Tobias Janson and Melissa Lindgren, with Sweden and the United States attached as producing countries. BDE reports.

Irish filmmaker Roisin Agnew presented her hybrid documentary Blackest Ever Black at CPH:DOX Forum 2026, a project examining the political, environmental and economic implications of Ireland’s rapid expansion of data centres – using satire and fictional framing to interrogate the global power of Big Tech. “Ireland has been at the forefront of this expansion for decades. If you want to understand tech and the threat it presents, you need to understand Ireland and how these companies operate there,” explained Agnew.