Azra Djurdjevic holds an MA in German and English Literature and began her career during her studies in 2009, working as a freelance assistant director and production manager on short films, feature films, and commercials. She later expanded her expertise in the advertising industry, producing award-winning campaigns, before returning fully to feature and documentary filmmaking in 2020. She currently focuses on documentary projects and is establishing the series department at Filmgerberei. 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?
Azra Djurdjevic: Stories are how we make sense of the world around us – we are constantly creating them. Right now, more than ever, we need ways to understand the realities we live in. Documentaries help to observe, to question, and to approach what often feels chaotic or frightening.

On a personal level, I’m almost addicted to new information. Producing documentaries is a way of feeding that hunger: learning continuously, staying curious, and not accepting the world as given. Making films gives me the illusion that I can actively engage in what is happening around me rather than just reacting to it.

When it comes to political change: yes, some films can bring about change, but not every film will. Sometimes the impact lies in raising awareness, in creating empathy or just asking the right questions.

How do you achieve and maintain work-life balance and foster overall well-being?
I’m not sure I do. I think there is only so much individual self-care can achieve within late-stage capitalism and the structures we operate in. What I try to do is address these questions openly with my teams early on: how we communicate, how we structure our collaboration, and how we can work together without burning ourselves out. Creating transparency, shared expectations, mutual understanding and talking openly about mental health is, for me, a crucial starting point.

Outside filmmaking, cold baths in Swiss rivers during winter and cooking play an important part in keeping me grounded. Finding and inventing recipes is deeply creative, and unlike in filmmaking, you get immediate results. The act of cooking requires focus and, ideally, produces something that not only feeds people, but also makes them happy.

Where do you find audiences for your films?
We seek our audiences through festivals, local screenings and digital platforms. Festivals are crucial for raising awareness about a film. Furthermore, local screenings are very important. I’ve found that organising Q&As and offering audiences an added value beyond the screening itself can increase awareness and attract more people. Especially when it comes to arthouse documentaries. Collaborations with organisations, educational institutions, and the use of social media also play an essential role in broadening a film’s reach. I think that audience work is a lot about creating situations in which a film can actively be experienced and discussed.

What projects do you have underway (including fiction films and other projects)?
I’m currently in production of the long-term documentary 8 to 18, directed by Cosima Frei. Over the course of 10 years, it follows a trans boy and his family. A cinematic family album about growing up, empathy, and the rush hour of family life. Five years have been filmed so far, with five more remaining.

P26, a fictional TV series created by Fanny Nussbaumer, is in development and scheduled to shoot next year. Set in the 1980s, the story follows a straight-laced housewife recruited by a secret Swiss army unit. When her inner warrior is unleashed, things spiral out of control – in the bunker but also in her peaceful suburban life. A coming-of-middle-age-story that revisits a forgotten chapter of Switzerland’s history and casts a new light on Swiss neutrality. 

M-AI Body Your Choice by Alun Meyerhans, takes us inside the largest ‘love’-doll factory and explores the fragile boundary between human connection and technological fiction, while raising fundamental questions about love, power, and the female body. The documentary is my second collaboration with Meyerhans and is currently in development.

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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.