With major film festivals facing challenges in addressing complex political issues amid global unrest, CPH: DOX is actively engaging in sensitive discussions about politics, censorship, and the impact of rapidly evolving technologies like AI on our understanding of truth.
Last year, the renowned Danish festival broadened its industry offerings by introducing CPH: DOX SUMMIT, a series of talks that invite thinkers, politicians, decision-makers, researchers, and documentary professionals to explore future issues. This year, the event is reinforcing that idea with the Summit taking place on the first day of CPH: CONFERENCE under the title “Sovereignty: Rethink, Envision, Redefine.” The opening speech will be delivered by ARTE France president Bruno Patino.
Ahead of the upcoming CPH: INDUSTRY – happening from March 16-19 – Mara Gourd-Mercado, head of industry and training at CPH: DOX says that having a broader range of experts at last year’s festival “added a lot of value.”
“Documentary is really struggling right now – and independent media overall is too,” she explains. “If you look at the Summit program, we are considering people who have experienced similar challenges before in journalism-the main source for documentary-where funding and support from public media have either diminished or vanished entirely. What lessons can we draw from their experiences to create structures that ensure our survival?”
Gourd-Mercado believes connecting documentary filmmaking with journalism feels “natural,” especially since this link has always been part of the festival’s essence. “We recognize there’s a significant difference between reporting and documentary filmmaking, but they influence each other. In our film program, many documentaries arise from collaborations between journalists and filmmakers.”
In recent years, leading documentary festivals have held numerous discussions regarding the industry’s dependence on streaming platforms and the vital need to foster public broadcasting systems that enable European documentaries to thrive. When asked about how connections between prominent American streamers and traditional media-like Jeff Bezos’s investments in both Prime Video and The Washington Post-might influence this year’s festival debates, Gourd-Mercado mentions shifting ideas around “safe spaces.”
“Sameer Padania, a journalist and researcher closely working with the BBC points out that it’s essential for us to examine what algorithms and AI are doing to make documentaries and independent media accessible,” she adds. “What frameworks do we need to maintain access? These safe havens we’re discussing can exist both physically and digitally. What does it mean to have spaces not controlled by governments or individuals like Jeff Bezos?”
Discussing safe spaces further, Gourd-Mercado commends Denmark’s unique context for hosting such a festival. “Denmark has a rich history of promoting democratic debate. There’s a tradition here where things are called as they are while also providing places for discussion-even if there’s disagreement; people still come together,” she notes. “This environment allows CPH: DOX to be bold, transparent, and political.”
When asked how she views the political nature of activities at the festival, Gourd-Mercado responds: “We don’t shy away from addressing political situations across various countries.” She continues saying it’s a privilege given that colleagues in places like Georgia, Hungary, the U. S., and India often struggle just to create space for these conversations. “We’re quite fortunate here.”
Courtesy of CPH: DOX
Recently speaking with Variety about increasing numbers of American filmmakers attending European festivals seeking support absent in their home country due to current political climates was Head of IFFR Pro Marten Rabarts. Addressing this trend within CPH: DOX specifically Gourd-Mercado states: “I believe much of the U. S. industry is exploring tangible ways to collaborate with Europe through co-productions.” We’ve always had this reputation for bridging gaps between Europe and North America generally; however now it’s truer than ever.”
“It’s not always straightforward since we’re dealing with two systems accustomed to operating separately; now they must figure out how to merge their financing structures,” she adds. “But I expect we’ll see more collaboration going forward.”
Given today’s rising instability globally along with documentary filmmakers tackling urgent topics , how does Gourd-Mercado alongside her team at CPH: FORUM decide which projects get featured during their pitching platform? With over 900 submissions-a noticeable jump from approximately 800 last year-this task isn’t simple.
“I’m interested in finding projects that exhibit geographical diversity yet also converse with one another,” says Gourd-Mercado. “Additionally , we consider project feasibility when evaluating Forum entries. We want only those projects we feel capable supporting. Just because we admire something doesn’t mean we’re necessarily suited as its platform.”
At t he end o f th e day , every aspect o f C PH : IN DU S TRY aims t o serve both ”t he i ndustry an d th e community ,” notes Gourd- Mercado. ”Activities should connect meaningfully. They must form pathways benefitting everyone , whether newcomers or seasoned producers an d filmmakers. Plus , DO X : A CA D E MY i s designed t o ignite interest i n filmmaking an d documentary craft , which is crucial. W e hope t o see participants return via initiatives like Forum an d eventually land spots in our main film lineup-that’s our objective.”
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