Julie Meigniez produces documentaries on social, historical, and cultural themes, primarily for public broadcasters such as Arte and France Télévisions. While the films she produces vary in both formal approach and subject matter, she is particularly drawn to projects that engage with social and political issues and those that explore hybrid forms. She frequently works with young and emerging directors. In 2016, she joined the production company Talweg, where she has been producing since 2021. An interview with her, now selected for the 2026 Emerging Producers programme (read her EP profile here).

Why do you produce documentaries? Do you see documentary cinema as an instrument of social and political change?
Julie Meigniez: My interest in documentaries grew out of three impulses: a curiosity about the world and the ways others think, live, and perceive it; a deep love for cinema; and a fascination with the complexity that lies in the ambition to represent reality. Producing documentaries allows me to engage with these passions on a daily basis.

I believe different films have very different ways of impacting the world. As a medium, I think cinema has a unique power to provoke empathy and reflection. By assuming the appearance of reality, documentaries can elicit especially strong responses, sparking discussion and debate. This, to me, is already a meaningful first step towards change. Some films go further, leading to tangible social, political, or legal outcomes. I value this diversity of impact: documentary cinema can be a powerful agent of change, but its relevance should not be measured solely by its ability to produce direct results.

How do you achieve and maintain work-life balance and foster overall well-being?
Like many professions, this work can be demanding and time-intensive, so I approach it with a strong sense of intention and clear boundaries. I feel lucky to have some control over my schedule, which allows me to plan realistic timelines and make space for rest and for time with loved ones, away from work.

Where do you find audiences for your films?
There are TV audiences, when films have a TV broadcast. They do not always remain invisible — viewers sometimes get in touch when a documentary touches on particularly sensitive issues.

Film festivals are an essential platform, and are even more valuable when screenings are followed by conversations with audiences.

Beyond this, I am keen to reach viewers through cultural institutions, community spaces, schools, and online platforms. These settings often create more engaged and diverse encounters, especially when a film speaks to specific social or cultural communities. I also value collaborations with NGOs and other organizations, which can help films travel beyond traditional cinema circuits.

What projects do you have underway (including fiction films and other projects)?
I am working on several documentary projects in development, including:

Story of the Painter Who Created a Photographer, written and directed by Christian Paigneau. This poetic documentary traces the lives of artists Ester Šimerová and Martin Martinček, who both endured profound personal tragedies during World War II. They met soon after, and lived together in the Tatras region. Martinček, who was a lawyer, became a photographer under the influence of Šimerová, an established Cubist painter. The film explores how an artist can reveal another, and whether art can heal the wounds of loss.

Lilyland, written and directed by Inna Denisova. Twenty years ago, Lily left her hometown in the Donbas region to rebuild her life in France after a difficult childhood. In 2022, her past returns when she takes in her grandparents, who have fled Russian bombings, into her small apartment. Their fragile cohabitation reopens buried memories and reshapes family bonds. Through a dual perspective on exile, the film explores the possibility of rebuilding one’s life and reimagining a sense of “home” after war.

4e B (Year 9), written and directed by Licia Meysenq. Living in Paris in her thirties, Licia learns that her teenage godson back in her mountain hometown is drifting toward local drug dealers — the same ones from her own troubled Year 9 class fifteen years earlier. Determined to prevent history from repeating itself, she returns home and reconnects with former classmates. Together, they explore how a collective failure has been leaving local children to fend for themselves.

The Doctor, the Child and the Wet Nurse, written and directed by Christian Paigneau. From the 18th century onwards, newborns from France’s major cities were sent en masse to the countryside to be fed and raised by other women. Through the intertwined stories of a physician-inspector, a placed child, and a wet nurse, the film sheds light on a largely forgotten industry that shaped French society for more than two centuries.

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EMERGING PRODUCERS is a leading promotional and educational project, which brings together talented European documentary film producers. The programme is organised and curated by the Ji.hlava International Documentary Film Festival.

Deadline for applications to the EMERGING PRODUCERS 2027 edition is 31st March 2026.