At Thessaloniki Documentary Festival 2025, Business Doc Europe caught up with AJB DOC FF Executive Producer Nejra Kozarić, and Djani Hasečić, member of both the AJB DOC festival board and programming committee.
Reflecting on their presence in Thessaloniki, Kozarić and Hasečić highlighted the Greek gathering’s importance for AJB. “Thessaloniki remains a strategic hub for us as it allows us to discover projects close to our region that resonate with our audience,” they explained.
Their attendance this year also included participation in the Pitching Forum and the Docs in Progress session, contributing to a panel discussion, and holding meetings with filmmakers to explore potential collaborations.
Hasečić added that the festival serves as a crucial networking platform. “It’s one of the key stops in our festival circuit, providing us with direct access to compelling stories and talented filmmakers who align with our editorial vision.”
Kozarić and Hasečić both agreed that Thessaloniki is a vital catalyst for documentary projects from the wider Mediterranean region and beyond. “The city’s rich cultural history and strategic location as a crossroads of civilisations enhance its appeal,” noted Hasečić. “It’s a place where filmmakers can exchange ideas, explore innovative storytelling methods, and address pressing global issues.”
The Greek festival’s programming, particularly its commitment to human rights and social justice themes, further cements its reputation as a platform for impactful narratives. “Agora provides vital networking opportunities, connecting filmmakers with key industry decision-makers,” Kozarić added. She also praised recent innovations like the XR Lab, which showcases immersive media projects. “These initiatives demonstrate the festival’s adaptability to evolving production realities.”
The current landscape for documentary sales and acquisitions is shaped by global events and political dynamics, they argued. Kozarić and Hasečić pointed out that this environment has increased the importance of exploring socially relevant topics. “It’s crucial to identify projects that captivate audiences and bring them together, which is increasingly challenging in today’s fast-paced world.”
Hasečić acknowledged the growing competition in the market, noting that the surge in content has made securing distribution and acquisition deals more difficult for independent filmmakers. “That’s why festivals and forums like Thessaloniki play such a crucial role,” he said. “They help bridge the gap between filmmakers and the industry, creating opportunities that might not exist otherwise.”
All in all, Kozarić and Hasečić found this year’s Agora particularly successful. “The selection of projects was outstanding, the guest line-up was strong, and substantial awards were given to support filmmakers,” Kozarić observed.
Discussing recent content trends, Kozarić highlighted the potential of immersive storytelling through new technologies. “The festival’s XR Lab is an exciting innovation, offering interactive possibilities that are shaping the future of the genre,” she said. While acknowledging that broadcasters have yet to fully embrace such formats, she found it encouraging to see new narratives being explored.
Hasečić also noted a continued focus on amplifying underrepresented voices and marginalised communities – including projects such as Alexa Bakony’s Highways of Hope, Doreida Xhogu’s Mama Klorin and Tanya Vikhreva’s Tower, Sun, and the Seven of Wands. “These fresh perspectives and untold stories enrich the documentary landscape,” he said.
Looking ahead, Kozarić expressed hope that filmmakers will adapt their work for different formats. “Creating TV cuts or reimagining documentaries as short films or short series tailored for mobile consumption could help reach new audiences and expand the impact of their stories,” she summed up.
