Doclisboa cares about the future of the films and projects that it presents. We provide moments for filmmakers and producers to meet with market experts, who can advise them on festivals and distribution strategies.
Adam Cook (Canada)
Film programmer and critic. His bylines include Cinema Scope, The New York Times, Film Comment, Sight & Sound and Filmmaker Magazine. Worked with the Toronto and the Vancouver international film festivals and Hot Docs. Curated retrospectives for Doclisboa, TIFF Cinematheque, Northwest Film Forum, Hot Docs Ted Rogers Cinema and Vancity Theatre. Taught workshops on film and film criticism. Former content manager for MUBI.
Agustina Costa Varsi (Volpe Films, Argentina)
She founded the company Volpe Films in 2013 and produced the films Algunas chicas (Venice Film Festival, Horizons section, 2013), Il solengo (Best Film at Doclisboa 2015) and Hija única. She has recently been appointed director of the Buenos Aires Lab.
Cíntia Gil (Sheffield Doc/Fest, United Kingdom)
From 2012 to 2019, before joining Doc/Fest, served as co-director (later, director) of Doclisboa, responsible for the collaboration with the European consortium Doc Alliance and the creation of the Ibero-American project development lab Arché. Member of the executive board of Apordoc since 2015. Regular guest at panel discussions and conferences, and on international festival juries such as Berlinale, Mar del Plata, FIDMarseille and Dokufest, among others.
Emi Ueyama (ARTICLE Films, Japan)
Founder of ARTicle films, a Tokyo-based hybrid between international sales agent and production company that specialises in Japanese independent documentary films. As a producer, highlights The Legacy of Frida Kahlo (2015), a Japan-Mexico co-production screened in global film festivals such as Hot Docs and Guadalajara International Film Festival. Has three documentary films in post-production: Urayasu (Japan), Tokyo Kurds (Japan) and Origami (Japan).
Juliano Gomes (Brazil)
Juliano Gomes has a degree in film and a master’s degree in aesthetic technologies from the Federal University of Rio de Janeiro where he studied the work of Jonas Mekas. He is a film (Cinética Magazine) and theatre critic. He teaches film history and criticism. He directed several short films and completed the feature film Aterro in 2019 together with Léo Bittencourt.
Kathy Brew (MoMA, USA)
Video-maker, artist and curator. She curated Doc Fortnight at MoMA/NY for 2017-2019. She has also been co-director of the Margaret Mead Film Festival, curator for Lincoln Center’s NY Video Festival, director of Thundergulch/Lower Manhattan Cultural Council’s new media arts initiative, and curatorial consultant at WNET New York. She is also an award-winning film-maker whose work includes documentaries, experimental work and public television productions.
Luana Melgaço (Anavilhana, Brazil)
Brazilian Luana Melgaço is a partner at Anavilhana. She worked as a producer or executive producer on more than 20 short and feature-length films, notably Girimunho (2010), Sopro (2012), A Cidade onde envelheço (2016), Enquanto estamos aqui (2019) and Breve historia del planeta verde (2019). Her films have been screened and awarded at the main film festivals in Brazil and abroad, and commercially released in several countries.
Luís Fernando Moura (Janela Internacional de Cinema, Brazil)
Curator and programme coordinator at Janela Internacional de Cinema do Recife since 2015. Collaborated with the Belo Horizonte International Short Film Festival (2017-2019), the Belo Horizonte Documentary and Ethnographic Film Festival (2018), Brasil Distópico (2017) and L. A. Rebellion. Is working on a doctoral thesis on curatorial practices and dissidence. Writes about cinema and has been jury and committee member.
Madeleine Molyneaux (Picture Palace Pictures, USA)
Madeleine Molyneaux is a creative producer and curator based in New York and Los Angeles. Her company, Picture Palace Pictures, founded in 2004, works closely with emerging and established international visual artists, musicians and film-makers, to develop, produce and represent films and hybrid moving image works that often defy easy categorisation. She is currently developing a feature film based on the life of the poet Charles Bukowski.
Mandy Marahimin (In-Docs, Thailand)
Indonesian film producer, working for Tanakhir Films. Her latest feature documentary, Semesta, was released theatrically and is now on Netflix. She also works as an investment analyst for Ideosource Entertainment, a venture capital firm that funds films, and is currently the interim director of In-Docs, a non profit organisation whose mission is to grow the documentary film ecosystem in Indonesia and South-east Asia.
María Vera (Kino Rebelde, Argentina / Portugal)
Argentinian producer, festival distributor and sales agent. Founder of Kino Rebelde, a company focused on the creative distribution of non-fiction and hybrid narratives. Her films have been selected and awarded in festivals as Berlinale, Rotterdam, IDFA, Visions Du Réel, Hotdocs, Doclisboa, Mar del Plata and Viennale.
Marianne Mayer-Beckh (El Otro Film, Chile)
Publicist by profession, film producer by passion. She has worked in the production of more than 18 audiovisual projects, including La pásion of Michelangelo, Stefan v/s Kramer, The Future, Magic Magic, Dignity, Dry Martina, Los perros and Rara. In 2017, she created her own production company, El Otro Film, premiering El Príncipe and winning the Queer Lion Award at Venice 2019.
Michel Zongo (DIAM Production, Burkina Faso)
Born in 1974 in Koudougou, Burkina Faso. Studied cinematography and documentary film production. Worked as cameraman in television productions and first assistant camera at Cinédoc Films (France). Directed Espoir voyage (2011), La Sirène de Faso Fani (2014) and Pas d’or pour Kalsaka, among others. Aside from film directing, was director of photography in numerous documentaries, including Bakoroman, by Simplice Herman Ganou (2010), which he also produced.
Mohamed Saïd Ouma (DocA – Documentary Africa, Kenya)
Film-maker and festival manager. Currently serves as the executive director of DocA – Documentary Africa, where he aims to foster and nourish pan- African ties especially in the documentary film sector. Festival manager for the International Film Festival of Africa and the Islands (FIFAI) from 2004 to 2015. Involved in The African Film Heritage Project, a programme that aims to restore 50 African films of historic, cultural and artistic significance.
Muriel Perez (Ouaga Lab, Burkina Faso)
She has a masters degree in international project management and worked for international NGOs in Brazil, France, Cameroon and Ivory Coast. In 2015, she founded Manivane, a start-up specialised in cinema-related events management and film translation, in order to work in Latin American and African cinema development and production, with a focus on young independent film-makers. She coordinates the Ouaga Film Lab since its first edition in 2016.
Pedro Pimenta (Ébano Multimedia, Mozambique)
Producer and co-producer of many short and feature fiction and documentary films in several African countries. Co-founder of the production company Ébano. Trainer in projects and events such as Africa & Pinocchio, Ouaga Film Lab and DOCTV-CPLP. Founder and director of Dockanema Documentary Film Festival (Mozambique, 2006-2012), director of the Durban International Film Festival (2015 and 2016), and founder and director of the Joburg Film Festival.
Rada Šešić (Serbia, The Netherlands)
Part of the selection committee of IDFA Amsterdam and programme advisor of IFFR Rotterdam. Head of the documentary competition at Sarajevo Film Festival and co-head of Docu Rough Cut Boutique. Teaches at the master in film in Amsterdam. Artistic director of the Eastern Neighbours Film Festival in The Hague. Mentor in various documentary workshops in Europe and Asia. Her films and video installations have been shown in over 60 festivals.
Richard Brouillete (Canada)
Richard Brouillette is a multi-award winning film producer, director, editor and programmer. Starting as a film critic, he founded in 1993 the artist-run center Casa Obscura, where he still runs a weekly film-club. His works include Trop c’est assez (1995), L’encerclement – La démocratie dans les rets du néolibéralisme (2008), and Oncle Bernard – L’anti-leçon d’économie (2015). He also produced ten feature-length films (including nine documentaries).
Selina Crammond (DOXA Documentary Film Festival, Canada)
Director of programming for DOXA Documentary Film Festival, which is Western Canada’s largest documentary film festival. DOXA’s mission is to support a better understanding of the complexity of our times through engaging the public in documentary media as an art form.
Shirin Naderi (Documentary and Experimental Film Centre, Iran)
Born in 1968 in Shemiran, Iran. She studied film directing at the Soureh University. She has worked in the international section of the Iranian Young Cinema Society since 1996 and was a member of the selection committee at the Tehran International Short Film Festival. She is also a member of the selection committee and head of the international section of Cinema Vérité – Iran International Documentary Film Festival (Iran), and head of IranDoc Market.
Simplice Ganou (Burkina Faso)
After a master’s degree in sociology and a bachelor’s degree in arts and cultural mediation, the documentary appeared to him to be a suitable tool to put together his passions, and he pursued a master’s degree in documentary direction in Senegal. He directed several films, such as Bakoroman (2011), Le Koro du Bakoro, Les Naufragés du Faso (2017) and L’Inconnu (2019). He participated and was awarded in numerous festivals around the world.
Zsuzsanna Kiràly (Flaneur Films, Germany)
Studied communication sciences in Vienna and Berlin. Has been working with Komplizen Film since 2009. In 2011, joined the editorial team of Revolver, Zeitschrift für Film. Has been part of the Torino Film Lab’s preselection reading committee since 2013. Has also been producing experimental fiction and documentary films with her own production company, Flaneur Films, since 2015 (Take What You Can Carry, by Matthew Porterfield, for example).