CANNES DOCS: Cannes Docs - Marché du Film & CPH:DOX provide the informative panel discussion «Documentary Production now - and beyond!»
Lauren Wissot
Lauren Wissot is a US film critic and journalist, filmmaker and programmer, and a contributing editor at both
Published date: June 29, 2020

The Doc TalkCPH:DOX Panel titled «Documentary Production now – and beyond!» at this year’s virtual Cannes Docs – Marché du Film featured four of Denmark’s most knowledgable when it comes to navigating the suddenly upended documentary landscape. Stepping into the role of Zoom moderators were Katrine Kiilgaard, CPH:DOX Deputy Director and Head of Industry, and Tereza Simikova, Head of CPH:FORUM, posing their own questions, as well as some from the online international audience that tuned in live on June 22nd.

And answering those inquiring minds were veteran producers Monica Hellström of Final Cut for Real, and Sara Stockmann of Sonntag Pictures, both with impressive resumes and projects in the pipeline. Hellström, one of this year’s «Producers on the Move,» is also one of the forces behind Jonas Poher Rasmussen’s Cannes-selected Flee. In addition, she’s currently producing Simon Lereng Wilmont’s A House Made of Splinters, the Peabody Award-winning director’s follow up to his Oscar-shortlisted The Distant Barking of Dogs. While Stockmann is in production on Frederik Sølberg’s Hana Korea – which just won the Eurimages Award at CPH:FORUM – and is behind Jannik Splidsboel’s Being Erico, which nabbed the Nordic:DOX competition at CPH:DOX 2020.

Their process

As a way of introduction, Kiilgaard noted that they would not be showing any trailers during the talk, fearing the Zoom format might undermine the quality of the work. She then asked the two producers to elaborate on their respective backgrounds in nonfiction filmmaking. Stockmann, who launched her career in narrative work but «hasn’t touched a fiction film» in 15 years, posited that documentary «blends reality, storytelling and the visual arts» in a combination, unlike any other art form. Hellström agreed and likewise ranked the cinematic element as the key ingredient in the docs they both produced.

When it came to …


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