25/04/2025 - The event’s co-directors comment on its upcoming edition and the evolution of documentaries in today’s landscape, in terms of both creativity and distribution

DocsBarcelona will celebrate its 28th edition from 8-18 May. We spoke about it with its co-directors, Èric Motjer and Maria Colomer.

Cineuropa: What does this new model of joint direction mean for you and how is it influencing the festival’s identity and future?
Èric Motjer: This artistic co-direction stems from a desire to bring together two complementary perspectives that enrich the project and help us to adapt to an ever-changing ecosystem. At the same time, it allows us to reinforce the transversality between the festival’s professional aspect and its programming—two increasingly interconnected dimensions that we believe will bring medium-term benefits.

Maria Colomer: For me, as a newcomer, co-direction has been a key support in understanding where we want to take the festival. We want to think in a circular way. For example, if a project fits into the film programme, we consider whether it also makes sense to invite the director or producer to the industry section, particularly if they have another project in development. On the other hand, the industry part of the festival has long been a benchmark market in Southern Europe. In terms of the programming, we want to support this international recognition.

What are the main focuses of DocsBarcelona this year?
MC: One of the main focuses this year is to strengthen the connection with the city, opening up to new spaces and audiences, as well as creating connections between local creators and international voices (a group of emerging local directors will moderate the Q&As of the official section). We are also introducing two new awards: the Best Editing Award (in collaboration with AMMAC) and the Journalistic Relevance Award (with El Periódico).

In terms of programming, we’ve selected 48 films that revolve around three key themes. The first explores Europe: where we come from, where we are and where we are going. At a time marked by war, border tensions and political instability, many of the films selected do not offer easy answers, but encourage us to reflect on the contradictions of our history and our present. We open with Riefenstahl [+see also:
film review
interview: Andres Veiel
film profile] and show films like Facing War [+see also:
film review
film profile] and Yalla Parkour [+see also:
film review
trailer
film profile]. The second theme celebrates documentary as an art form. So, we are launching Official Section - Visions, a new competitive section that aims to push the boundaries of non-fiction. This includes works such as Unanimal and The Memory of Butterflies [+see also:
film review
interview: Tatiana Fuentes Sadowski
film profile]. The third theme is dedicated to the archive as a creative tool, with titles such as Trains [+see also:
film review
interview: Maciej J Drygas
film profile], winner of the IDFA, and Ernest Cole: [+see also:
film review
trailer
film profile] Lost and Found [+see also:
film review
trailer
film profile].

How do you see the evolution of the documentary in the current context, both in terms of creativity and distribution?
ÈM: We work in a sector where talking about crisis seems intrinsic to its very nature, but we’re experiencing a bittersweet moment in terms of production. On the one hand, we’re seeing risky creative proposals and new visions emerging in markets and festivals, which brings hope from an artistic point of view. On the other hand, the sector is facing major challenges in financing projects.

We’re in the perfect storm, where the number of projects is constantly growing, while platforms are decreasing documentary production —which have opted to prioritise commercial criteria and focus on very specific formats such as biopics or true crimes. At the same time, the rise of some right-wing governments has led to a withdrawal of support for creators and institutions. As a result, directors and production companies in countries such as the United States, Argentina and some European states, are facing serious difficulties.

MC: Right now, in Europe, producing a creative documentary almost always requires co-production. Co-production has become essential, which is why markets and pitching have become so important. On the other hand, the problem of distribution, with so few opportunities to show documentaries, means that festivals play an increasingly key role. In this sense, I’d also like to highlight our Docs of the Month initiative, which screens a monthly documentary in more than 70 cinemas across Spain.

What role do you think DocsBarcelona plays in the international documentary festival ecosystem?
DocsBarcelona is one of the key elements in the non-fiction ecosystem in Southern Europe. Over its 28-year history, it has been an essential meeting point for the industry—recognised by Latin American filmmakers as an ideal space to create co-productions across the Atlantic, while also opening up opportunities for films from both the north and south of the Mediterranean. This has helped foster cultural and business exchange also in the area of production. Equally important is the festival's European focus, which has enabled us to establish essential connections with creators and the industry.

(Translated from Spanish)