Thessaloniki Docfest’s Agora Remains a Beacon of Hope Despite Geopolitical Turmoil and Broadcasters’ Retreat, Says the Industry

The 27th edition of the Thessaloniki International Documentary Festival closed on March 16. From March 7–15, the Greek gathering hosted Agora, an industry platform for developing projects and fostering collaborations, headed by Angeliki Vergou. Agora featured a rich program of panel discussions, masterclasses, and networking events, with 33 new projects showcased across the Agora XR Lab, Agora Boost, Docs in Progress, and Pitching Forum sessions.

Agora has gained prominence among documentary professionals and become one of the key events in the winter calendar. Documentary Magazine spoke to Vergou and several professionals in attendance to take stock of this year’s market, examining content trends and the current climate for business.

First, Vergou shared some key figures from this year’s edition. 507 registered professionals took part in Agora, including 422 attending it in person. The recorded number of project meetings was 469, with the Pitching Forum hosting 293 meetings, Docs in Progress hosting 150, and the Agora XR Lab hosting 26. The Agora Boost and Doc Counseling sessions also contributed with 184 meetings. These figures suggest moderate growth year-on-year, and can be considered an encouraging sign of enthusiasm and commitment, despite global uncertainties.

A Growing Documentary Hub for the Wider Euro-Mediterranean Region

“It was a very successful event, and we are proud of the outcome. The professionals left Thessaloniki pleased with the quality of their meetings and the overall experience—from the presentation of projects to the attendance and content of the panel discussions, as well as the new connections they made and new talents discovered,” says Vergou.

Vergou also emphasizes that Agora creates a “safe and welcoming space” for professionals, particularly for emerging talents and producers, facilitating access to international markets. “In Thessaloniki, you can feel a collective effort to exchange best practices and provide the best possible feedback,” she notes.

The perception of Thessaloniki as a hub for non-fiction professionals interested in working in—and collaborating with—the wider Euro-Mediterranean region (a vast area including Europe at large, the Mediterranean basin, North Africa, and the Middle East) is unanimously shared by both local and international attendees. Rea Apostolides, producer at Greek outfit Anemon, defines Agora as “a catalyst for documentary projects from the region and beyond,” but also “a really friendly setting to meet creative and financial partners from all over the world.” Manuela Buono, producer for Italy’s Slingshot Films, praises the accessibility of its venues and the excellent organization, “which makes it easier for guests to move around between events.”

A Tougher Climate for Business, With Broadcasters Shying Away From Risks and Commitments

Despite the commendable efforts made by the Agora team, speaking to some attendees revealed the industry’s current concerns, not so much bound to a market that strives for quality, but to the broader looming geopolitical context. This was palpable in the corridors of Berlin’s European Film Market last month, but has emerged as an even more present concern among Thessaloniki’s guests.

Meanwhile, perceptions of the current climate for business varied. Despite scooping a special mention and the Creative Greece Award for two of her new projects, Apostolides admits things are simply difficult. “There is a sense that broadcasters are retreating from committing to the development or production phase, and for many projects, it’s difficult to partly or fully fund a film before post-production.” Reflecting on how the landscape has changed over the years, she remarks, “Times have really changed... 20 years ago at Thessaloniki, there were mainly broadcasters at the pitch, offering real and significant money. This doesn’t seem to be the case anymore.”

For executive producer Nejra Kozarić and programmer and festival board member Djani Hasečić of Al Jazeera Balkans, the non-fiction market is becoming increasingly competitive and saturated, making it difficult for independent filmmakers to secure distribution and acquisition deals. “This is why it is important to organize festivals and forums and bring those filmmakers closer to the industry. Thessaloniki remains a strategic hub for Al Jazeera Balkans, as it allows us to discover projects close to our region that resonate with our audience,” they underscore.

Sales agents also expressed similar concerns but seemed moderately reassured by the high quality of the projects on offer.

Ester Català, representing the sales firm Limonero Films from Spain, found “deep humanity” rooted in all the projects she came across, regardless of their stories, style, format, or genre. She notes that this human connection was present in a wide range of topics, from political and current issues to more personal human interest stories. “The uniqueness and power of each real story out there still prevails across the board,” she affirms, stressing the importance of showcasing “powerful tales, deeply human in all its forms; and with surprising and impactful angles.”

Tijana Djukic, of France’s Stranger Film Sales, defines the current climate for documentary sales and acquisitions as “ever-evolving,” but also commends the quality of the line-up. “This year’s Agora showcased a super solid selection of projects at different stages of production, each passionately amplifying the voices of vulnerable groups that are facing heightened risks due to the ascendance of right-wing ideologies and the absurdly erratic actions of influential political leaders,” she says.

Buono agrees with Djukic and Apostolides but also noted another key issue hitting documentary production: “There are more diverse outlets and transnational platforms, which makes it challenging to complete the puzzle of financing the film, and distribution is more fragmented—and this last one is not necessarily a negative point.”

“What I found very exciting is that while we are experiencing a period where censorship is often a barrier for public speech, in direct or more subtle forms, artists and filmmakers don’t shy away from denouncing and bringing attention to political and social changes in an international perspective. The same goes with highly artistic, experimental films that find a difficult path for distribution. Luckily enough, there is still a genuine interest in creating these works, which often pioneer stylistic forms that later on we’ll meet in mainstream or more commercial productions,” she continues.

Trends Toward Intimate and Immersive Stories

In terms of content, Català observed notable trends, particularly in themes related to identity, dreams, ambitions, and trauma. “I found that themes around identity, dreams and ambitions, or trauma-related topics—either personal or societal—were strong and still prevail today,” she says, pointing out that these topics continue to resonate with both filmmakers and audiences.

Juan Castro, MD and Head of Sales at Dutch sales outfit Latin Quarter, observed a shift toward more personal, intimate storytelling, often incorporating hybrid or visually experimental approaches. Many of the projects he encountered embraced themes of resilience, identity, and social justice, with a particular focus on underrepresented voices. “I also noticed a compelling presence of ecological and gender-focused narratives, reinforcing the idea that documentary cinema remains a powerful tool for both artistic expression and social dialogue,” he adds.

He mentioned films like Under the Flags of the Sun, Cum As You Are, A Flower of Mine, and Girls for Tomorrow as examples of high-quality work showcased in the festival lineup. Among the projects in development, he singled out Bugboy for its originality and potential impact.

Meanwhile, Kozarić and Hasečić notice a growing interest in immersive media, billing the XR lab as “an exciting innovation in storytelling, offering immersive and interactive possibilities that are shaping the future of the genre.” However, they also pointed out that while immersive media is not yet fully embraced by broadcasters, it offers a new frontier for storytelling. “Looking ahead, we’d love to see filmmakers adapt their work more effectively for different formats,” they add, suggesting creating TV cuts or short films tailored for mobile consumption to reach new audiences.

Djukic is more cautious about identifying trends. “I am not sure about new trends among the projects, but rather an extremely sensitive approach to key themes—an impactful yet raw perspective,” she explained. She singled out several films from the festival line-up that stood out to her: GEN_, The Hexagonal Hive and a Mouse in a Maze, and Mr. Nobody Against Putin. She also expressed her excitement about the retrospective of one of her favorite documentary directors, Lauren Greenfield, who was a guest of honor at the event alongside 2023 Golden Bear winner Nicholas Philibert. “In my opinion, these creators are trendsetters, and I’m pleased to see their work showcased here.”

When discussing content trends, Vergou focuses on the growing conversation about supporting filmmakers who lack access to national funding due to political reasons or who have been forced to flee their home countries due to persecution. This year, Agora, in collaboration with DOK Leipzig’s DOK Industry, launched the Doc Together initiative to provide practical support. “Their projects engaged with deeply personal and political journeys, exploring identity, displacement, resilience, and memory,” the Agora head explains. She also acknowledges the challenge of making documentaries more commercially viable and capturing broader audience attention, while still maintaining the integrity of the stories being told.

A Safe Space for Creativity and Committed Filmmaking

Looking ahead, Vergou identified areas for improvement in Agora’s growth. She mentioned the importance of curating a more focused guest list to ensure honest feedback and support for selected projects. Additionally, she emphasized the need to continue improving the two key workshops, Agora Boost and Agora XR Lab, to further enhance the creative work of participants. “In addition, we would love to welcome delegations from other countries seeking fruitful connections, aiming to continue our collaborative efforts with other festivals and markets for the promotion of the documentary medium and to connect the south to the north, east to west, as Thessaloniki is at the crossroads of all these regions and historically has been a melting pot of cultures,” she sums up.

In conclusion, Agora and TIDF continue to stand as vital platforms for non-fiction professionals, fostering international collaborations and offering a rich environment for emerging talent. Despite the challenges posed by the shifting geopolitical landscape and a competitive market, the event remains a guiding light for the industry. The strong turnout, engaging talks, and diverse selection of projects underscore the Greek gathering’s on-going relevance and influence within the documentary community. As the industry navigates uncertainties and public funders’ resources shrink under the pressure of illiberal leadership and financial constraints, Agora’s ability to adapt and provide valuable networking opportunities positions it as a crucial space for creativity and politically committed filmmaking. Amid these global threats, we hope that Agora’s role and impact continue to grow in the coming years.

Davide Abbatescianni is a film critic and journalist based in Rome. He works as an International Reporter for Cineuropa and regularly contributes to publications such as Variety, New Scientist, The New Arab, Business Doc Europe, and the Nordisk Film & TV Fond website. He also serves as a programmer for the Torino Film Festival, one of Italy’s largest cinematic gatherings.