The International Documentary Film Festival Amsterdam (IDFA) kicked off on a Friday the 13th, a date that, according to the report, felt like a powerful omen for the current, disruptive moment in documentary filmmaking. Straight up, a major ‘buzz’ is happening at the U.S. box office, with films like Lance Oppenheim and Nathan Fielder’s ‘You Can See Everything’ — a doc about the well-known Theranos founder Elizabeth Holmes — pulling in some serious cash. This flick recently surpassed $80 million, making it A24’s third-biggest domestic release, which is pretty ‘dope’ for the documentary scene. This success for ‘Documentary Films’ is sparking conversations about what the future holds for these cinematic experiences, especially in the collective setting of a movie theater.
Isabel Arrate Fernandez, the artistic director of IDFA, highlighted how these successful documentaries are straight-up breaking all previous patterns and frameworks in the industry. As she stated, for independent documentary to thrive, it’s necessary to think outside the box and ditch formatted release strategies. What’s even wilder is that these films aren’t just short, digestible pieces; ‘You Can See Everything’ clocks in at nearly three hours, and Alex Gibney’s ‘Musk’ goes beyond four hours. Yet, audiences are showing up, proving that runtimes aren’t deterring the masses. A significant factor in ‘You Can See Everything’s’ appeal is, as the article points out, the involvement of Nathan Fielder, which draws in a fresh group of viewers, lowkey expanding the demographic for theatrical docs.
While big-budget American productions like the Holmes and Musk documentaries are grabbing headlines, Arrate Fernandez also emphasized the importance of independent films with more modest publicity budgets. She noted that films like ‘A Fox Under a Pink Moon,’ ‘Rehearsals for a Revolution,’ ‘Closure,’ and ‘Traces’ are entering the playing field, adding different perspectives and showing the broad scope of contemporary documentary cinema. This ‘pollination’ between diverse documentary styles is, in her view, crucial for the genre’s continued evolution, proving that the scene isn’t just about the major players vying for those Oscar noms.
Another heavy conversation at IDFA this year revolves around artificial intelligence, a topic that’s been highkey present in the industry. Prominent documentaries such as ‘Musk’ and Ava DuVernay’s ’14th’ have openly acknowledged using AI in their production. The festival is digging deep into the nitty-gritty of AI usage, moving beyond just generalized panels to address how rights holders are engaging with the technology and what the political implications are for documentary filmmaking. For the first time ever, IDFA even asked filmmakers in its program about their AI usage, aiming to develop a standard practice through community dialogue and shared experiences.
On the transparency front, the festival’s guidelines regarding Israeli attendees and films have been a hot topic. Last year, IDFA turned down Israeli industry figures from government-supported institutions, a decision that has since been reviewed. As the article states, IDFA has updated its principles and guidelines, now evaluating films and guests on a ‘case-by-case basis.’ The core principle, according to Arrate Fernandez, remains that IDFA does not want to be a platform for governments accused of violating human rights. This careful, individualized approach aims to uphold values of solidarity, artistic freedom, and pluralism, welcoming professionals who share these commitments.
It’s also worth noting that, officially, no films in this year’s program list Israel as a country of production. However, films made in Israel, like Avi Mograbi’s ‘Wild Asparagus’ and Anat Even’s ‘Collapse,’ are being screened under different listed countries. Arrate Fernandez suggested this could be a ‘political choice’ or a pragmatic one to avoid potential backlash, observing that ‘Collapse’ even begins with a statement disavowing Israeli institutional funding. She expressed sadness over how complex conversations are often stripped of nuance, leading to black-and-white judgments that don’t represent the true spirit of documentary storytelling, which is all about showing the complexities and different shades of truth. It’s giving real talk about the state of discourse.
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Livia Dorne covers film, television, music, and pop culture with a keen editorial perspective. She delivers engaging commentary, reviews, and behind-the-scenes insights that keep readers connected to the entertainment world. Her style blends critique with storytelling.
