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FUTURE AT OUR FINGERTIPS

Instead of being overwhelmed by the uncertainties, let’s establish that our future is yet to be collectively discovered – and created – by the documentary community itself.

Looking back when we last gathered as a community, it’s tempting to see the world adrift on a storm-tide of troubles and the much awaited transition to a better, slower, more equal and sustainable film industry seems to be on hold. Yet again, the way that documentaries are being made, financed, and distributed needs urgent rethinking.

CPH:CONFERENCE 2023 returns as the platform uniting bright and determined filmmakers, producers, and gatekeepers of the non-fiction world to collectively envision the future of our industry, discover and unlock the currently available resources, possible solutions, and transformative potential of the industry of tomorrow.

 

FILMMAKING : FREEDOM

Tuesday, March 21, 15:00 – 17:45

In times of scarcity, what does a seat at the table mean, and who gets it?
Recognising enhanced market pressures on creative documentaries, the first day of the Conference will invite the documentary community to collectively brainstorm on how filmmakers can be better equipped, empowered and freed to bring on screen nuanced stories from all four corners of the world.

15:00-15:30

Tuesday, March 21

THE LENS REFLECTED

In the most extensive research ever conducted on representation in documentary, the Center for Media & Social Impact (CMSI) studied the racial and gender diversity of directors and protagonists across more than 1,200 documentaries distributed between 2014 and 2020. Caty Borum, one of the leaders of the study, presents its findings hinting at the new distribution patterns, defining nonfiction storytelling for audiences.

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REDISTRIBUTE:ECONOMY

15:30-16:30

Tuesday, March 21

SPACE FOR VARIETY

Noting the market is ever more reluctant to take risks, how can we ensure the richness, heterogeneity and artistic freedom of the non-fiction genre? While we are finding ways to document inequality in terms of race and gender, can we find a method that would reflect the various historic, cultural, social and geopolitical realities? And is there a systemic way to secure space for the variety of artistic expressions themselves?

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REPRESENTATION:POWER

16:45-17:45

Tuesday, March 21

THE TRUST POLICY

Unrestricted grants, fellowships and career support programmes represent a compelling innovation in the funding ecosystem. Can setting filmmakers – instead of their projects – in the center of the industry counterbalance market pressures and guarantee artistic originality, access to talents from underrepresented communities and deeper artistic reflections of the world?

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PRODUCTION : SUSTAINABILITY

Wednesday, March 22, 15:00 – 17:30

How to burn for non-fiction stories and not to burn out?
Tackling the fundamental unpredictability of independent production, the second day of the Conference invites the documentary community to discuss strategies designed to gather both public and commercial potential, in order to build a more stable, and eventually feasible framework for filmmakers, producers and the industry at large.

15:00-15:15

Wednesday, March 22

RESPONDING TO PERMACRISIS

2022’s Word of the Year “Permacrisis” fittingly reflects a dizzying sense of lurching from one trouble to another. The DocuMentality initiative is currently running a thorough research of the roots – and solutions for disproportionally high levels of stress, depression and sense of powerlessness in the nonfiction industry. Rebecca Day, one of the initiators of the project, will introduce the work on a mental health toolkit of resources for the documentary community, and invites us to participate in research focus groups at CPH:DOX.

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15:15-16:15

Wednesday, March 22

SEEKING STABILITY

Given the role producers play in finding, shaping, and championing the voices of independent filmmakers, what structures do we need to ensure their own endurance? As market demands, distribution outlets and financing opportunities change constantly, how can producers survive and thrive, in order to honor their commitment to filmmakers? And how are their business strategies shaping the field at large?

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16:30-17:30

Wednesday, March 22

NAVIGATING BUMPY ROADS

With the documentary film market increasingly shaped by commercial entertainment entities, how can independent filmmakers sustain themselves? What role can talent agents, representing actors, artists, athletes – but also documentarians – play in navigating the challenging landscape of rapidly changing opportunities for their clients to make a living while finding a space for independent, artistic projects?

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DISTRIBUTION : COMMUNITY

Thursday, March 23, 15:00 – 17:30

Keep an eye out for the eyeballs we are missing out!
Making a point of the changed post-pandemic distribution landscape, the third day of the Conference will tap into understanding new audiences and innovative ways to reach and engage them! We open a discussion of forgotten audience demographics and ways to make sure distribution can actually generate an income.

15:00-15:15

Thursday, March 23

EMBRACE THE NEW

“Being distributed doesn’t mean being seen,” writes Brian Newman, in his Sub-Genre newsletter – suggesting that in a time of turmoil in the documentary ecosystem, we need to put aside our fears, give up on antiquated systems and build something new for the future. What could that look like, and what steps do we take to get there?

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15:15-16:15

Thursday, March 23

OVERLOOKED CROWDS

The pandemic has accelerated the countless challenges documentaries and their distributors face. While despairing over evaporating audiences, what if the middle-aged, middle-class cinema-goers are just the wrong demographics to chase? Could more diverse programming bring more diverse audiences? In a series of inspiring mini key-studies, innovative distributors, visionaries and radical thinkers explore new possible ways to meet new audiences, on both big and small screens.

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16:30-17:30

Thursday, March 23

BEYOND IMPACT

In the context of a growing global demand for commercial, smooth nonfiction stories – what role can major public institutions and philanthropic organizations play in the support of independent artistic practice? Is there a way to overcome issue silos of various nonprofits and develop broad, inclusive structures (and budgets) that would enable filmmakers to systematically contribute to civil society’s work and benefit from its resources?

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