Decoding the Documentary Industry: What Are Decision Makers Looking For?

This panel aims to demystify the documentary industry by shedding light on the perspectives of decision-makers when they select documentary films. Industry insiders share valuable insight into the trends and considerations influencing their choices. This session offers valuable guidance to filmmakers and content creators seeking to navigate the documentary landscape and seeks to increase their chances of securing funding and distribution opportunities.

SPEAKERS

ANIA TRZEBIATOWSKA
Feature Film Programmer, Sundance Film Festival | US

INKA ACHTE
Artistic Director/Head of Acquisitions, DocPoint Helsinki Documentary Film Festival, Raina Film Festival Distribution | FI

TEREZA BONA KEILOVA
Producer, Documentaries – HBO Original, Central and Eastern Europe

MODERATED BY

MARTICHKA BOZHILOVA
Producer, Agitprop | BG

TIME

Monday, August 18th, 2025
15:00 – 16:00 (CET)

LOCATION

Festival Garden

Ania Trzebiatowska

Ania Trzebiatowska is a feature film programmer for the Sundance Film Festival, focusing on US and world documentary features. Prior to that she was the Sales & Acquisitions Executive for the documentary sales agency, Autlook Filmsales, and Senior Director of Acquisitions for the NYC-based agency, Visit Films. Aside from her work at Sundance, Ania runs Sands: International Film Festival of St Andrews, Scotland. She was also the artistic director of the Off Camera IFF (Krakow, Poland), which she programmed between 2008-2020. She trained in production and post-production at the BBC and the British Museum, and holds a Master’s degree in film studies as well as an M.A in Digital Culture and Technology. 

Inka Achte

Inka Achté is a documentary filmmaker and former sales agent with 20 years of experience in the film and television industries. She has an in-depth understanding of creative documentary from multiple perspectives: in addition to her work in directing and sales, she has served as a consultant and tutor in creative documentary. Achté is currently in post production of her third feature doc and works as the Artistic Director of DocPoint Helsinki Documentary Film Festival, and Head of Acquisitions at Raina—an agency offering festival distribution and strategy services for short and documentary films.

Tereza Bóna Keilová

Tereza Bóna Keilová is a Producer in the Documentary section of HBO Original, producing and co-producing high-end European documentaries across the Central and Eastern Europe (CEE) region. Based in Prague, under the leadership of Hanka Kastelicová, she collaborates with creative teams and producers throughout the region to develop and produce impactful, original content. 

With nearly two decades of experience in the film and television industry, Tereza has worked on a wide range of productions including independent feature films, award-winning documentaries, commercials, and TV series. She studied Film Production at the Private Film School in Písek and began her career in 2003. Her portfolio includes collaborations with both independent producers and major studios such as 20th Century Fox. 

Martichka Bozhilova

Producer of Agitprop Bulgaria. Her films have been selected and awarded at Cannes, Berlin, IDFA, Toronto, Sundance, Tribeca, Pusan and broadcast all over the world. Among her films are: Touch Me Not (Golden Bear Winner, Berlinale), Georgi and the Butterflies (Silver Wolf, IDFA), The Mosquito Problem and other stories (Cannes). Producer of successful factual TV series for Nat Geo and HBO, and of Father's Day high-end drama series for BNT. Her latest films include A Provincial Hospital (Karlovy Vary Crystal Globe Competition, Ecumenical Jury Award), Working Class Goes to Hell (Toronto) and Operation Sabre TV drama series (CanneSeries 2024, Special Interpretation Award). Winner of EPC and Netflix Award for series development for Best Female Producer, Venice Film Festival.

Previous
Previous

Inclusive Programming Beyond Quotas: Curatorial Vision Meets Operational Reality

Next
Next

Sharper Edges or Safer Screens? Integrity, Impact, and Self-Censorship in Crisis-Era Cinema