“At the Core, It’s About Supporting Filmmakers”: Galya Stepanova on Doc Alliance’s Evolving Mission

Founded in 2008, Doc Alliance is a collaborative network of seven key European documentary festivals—CPH:DOX, Doclisboa, FIDMarseille, Ji.hlava, Vision du Réel, Dok Leipzig, Millennium Docs Against Gravity—dedicated to promoting arthouse non-fiction cinema and supporting emerging filmmakers.

Having attended several of the Alliance’s partner festivals over the years, I’ve seen first-hand how it enhances visibility for up-and-coming documentarians—through curated screenings, networking opportunities, a recognizable brand, and a steady presence at major industry events across Europe.

For over 15 years, the initiative has played a pivotal role in strengthening the continent’s documentary scene by fostering inter-festival collaboration and increasing exposure for independent work. Spearheading many of its recent efforts is Galya Stepanova, the network’s coordinator and one of the driving forces behind its growing industry profile. Ahead of this year’s Cannes Film Festival and its Marché du Film (May 13–24), Documentary Magazine sat down with her to discuss the Doc Alliance Award, long-term strategic goals, and how the network is adapting to better serve new voices and cross-border exchange.

Beyond the awards, the Alliance promotes collaboration through rotating guest festivals, ongoing filmmaker support, and new initiatives tailored to the industry. Among these is a forthcoming digital handbook on festival practices, offering strategic insights into inclusivity, sustainability, and technological innovation. As Doc Alliance evolves, it remains committed to visibility, continuity, and pan-European connection—building a stronger, more cohesive documentary ecosystem.

This interview has been edited.

DOCUMENTARY: I’d like to begin by asking you to introduce the core mission of Doc Alliance and the award itself.

GALYA STEPANOVA: Doc Alliance is a network of seven European festivals, founded in 2008. Its core mission has always been to promote arthouse documentaries and support emerging filmmakers, especially beyond their first and second films. One of the network’s earliest projects was DAFilms, our VOD platform. Initially, it served as a space to release the seven festivals’ documentaries, but it has since grown into a more generalist platform for arthouse non-fiction films from festivals worldwide.

The Doc Alliance Award is given annually to one feature and one short documentary. Each festival nominates one first or second feature and one short. Since 2023, we’ve also included one guest festival per year, which takes part in the entire process—from nominations to selecting jury members. The jury, usually comprising a film critic, a distributor, and a producer or another industry professional, selects the winners independently. The award is traditionally presented in Cannes, although we’ve hosted ceremonies at other festivals in the past.

The winning filmmakers are invited to Cannes, provided with accommodation, travel, and accreditation, and presented with their award during the Doc Day Lunch—this year scheduled for 20 May. We also aim to support them in arranging meetings, gaining press exposure, and developing future projects, including assisting with the distribution of their current films.

We try to support all 16 nominated titles as well. Even though we can’t cover all their expenses, we promote them actively at Cannes and encourage participation in our activities if they can attend. Beyond Cannes, each Doc Alliance festival commits to screening three or four nominated films throughout the year, often inviting the filmmakers for Q&As. For example, this year there will be screenings of the winning films at La SCAM in Paris in September. Punto de Vista, our 2025 guest festival, will also organise screenings across Spain, particularly in Navarra.

Our aim is to ensure these films have continuity and visibility. We want to provide more platforms and opportunities for filmmakers to present their work across Europe.

D: Regarding the nominations, does each festival set its own criteria?

GS: The main criteria are that the film must be a first or second feature and must have a European director or at least a European co-producer, due to our funding structure. Beyond that, yes—each festival is free to nominate whichever film they feel is most appropriate. We gather the nominations around February or early March, and many of the titles from festivals like Visions du Réel or CPH:DOX are fresh premieres or haven’t screened yet. This means that by the time the jury deliberates, they’re watching works that are very current. That freshness adds something exciting to the process.

D: Could you talk us through the strategic thinking behind involving a guest festival each year?

GS: The idea is to strengthen interconnections between European festivals and to involve events from countries with lower production capacities or more limited resources. In 2023, it was Dokufest Kosovo; in 2024, Docudays UA; this year, it’s Punto de Vista.

These guest festivals all have strong identities and do vital work in their national contexts. For instance, Punto de Vista supports many Spanish or Spanish-speaking filmmakers. The feature they nominated this year, Volver a casa tan tarde, was developed in their own lab, and when submitted, it was still somewhat unfinished—more of a work in progress. The filmmaker was working independently, without a production company, which made the nomination even more valuable.

The aim is to bring these more niche or underrepresented works into wider circulation. Conversely, nominated and awarded films from the Doc Alliance network also travel to the guest festival, encouraging intercultural exchange. For example, FIDMarseille has strong ties with Latin American cinema; Jihlava and Millennium Docs Against Gravity are rooted in Central Europe. By adding a guest festival from a different background, we introduce new perspectives, styles, and voices into the mix—even when titles naturally circulate between some festivals, that’s not the case for the majority of independent cinema.

D: On May 19, Doc Alliance reps will also present their latest research findings at the Marché du Film. Could you elaborate on their work?

GS: Yes, we’ve been preparing a digital handbook on festival work, scheduled for publication in early 2026. The idea was to explore core aspects of our work through a long-term, collaborative research process. Five of the Doc Alliance festivals were each assigned one specific topic to examine across the network. These include emerging filmmakers, inclusive programming, new technologies including VR and XR, educational practices, and environmental sustainability.

The research is based on questionnaires filled out by all member and guest festivals. We wanted to build a shared knowledge base that reflects both the challenges and possible solutions in these areas. Each topic was selected based on the strengths or interests of the individual festivals involved. Some already focus heavily on certain areas—like emerging talent or sustainability—while others are exploring them for the first time.

So, for example, when it comes to emerging filmmakers, we look at labs, mentorship schemes, or residency programmes. With environmental sustainability, we cover everything from technical aspects—like certifications—to broader philosophical questions about what role festivals should play in the climate conversation. In the area of new technologies, we’re examining how festivals adapt to innovations such as AI or immersive formats.

It’s a mix of the practical and the conceptual. The aim is not only to take stock of what’s being done but to imagine how these practices could evolve and be implemented more widely.

D: How many people worked on the project, and how long has it been in development?

GS: The research has been ongoing since 2023. Each participating festival had one designated person leading the research—conducting interviews and drafting the text—while working closely with relevant departments within their own organisations. Another important aspect is that this research is not static. We plan to present the findings not only in Cannes but also at other industry events throughout 2024 and into early 2025. We’ll incorporate feedback from these presentations—including Q&As and stakeholder discussions—into the final publication. The goal is to involve the wider film industry in the conversation and reflect their input in the final result. It’s not just about what the Doc Alliance network thinks internally; we want this to be a living document shaped by a broader community.

D: I wanted to ask you whether you’re planning to expand the network in the long run or evolve the structure of the awards and the research work you’re doing.

GS: In terms of expanding the network, we’re planning to continue with our guest festival model as it stands. However, we actually have a new project that’s an extension of the Doc Alliance Network: the Doc Alliance Network of Markets. It’s essentially launching a digital platform that connects four of the festival’s markets: FIDLab, Millennium Docs Against Gravity, Doclisboa, and Jihlava’s New Visions. These four festivals have quite strong industry elements, and the idea is to bring them together digitally to encourage co-productions, foster networking, and create a more global space for documentary filmmakers to meet with producers and distributors. We hope this platform will grow and eventually include other relevant markets. The idea is to facilitate more opportunities for filmmakers who come from smaller markets or more niche sectors, allowing them to gain visibility at an international level. Connecting these markets will help make their work more accessible to a broader audience. Additionally, it will provide a space for shared knowledge, enable better matchmaking between filmmakers and industry professionals, and foster co-productions that may not have been possible otherwise.

D: Looking at the upcoming events and changes, what does the future hold for Doc Alliance? How do you see its role evolving?

GS: The future of Doc Alliance is very exciting. With our ongoing projects and the increasing focus on digital transformation, we aim to provide more opportunities for filmmakers to engage with the global documentary community. We are committed to enhancing the accessibility and visibility of independent documentary films and supporting the voices of emerging filmmakers, especially those from regions with fewer resources.

In terms of the award, we want to continue to recognise the work that resonates with the documentary community and has a lasting impact. By expanding our network and refining our initiatives, we will provide greater platforms for these films, ensuring they reach the right audiences.

D: With all these efforts, how does Doc Alliance stay true to its core mission of promoting arthouse documentaries and supporting emerging filmmakers?

GS: At the core, Doc Alliance has always been about supporting filmmakers and championing arthouse documentaries. Our role is to connect filmmakers to a network of like-minded festivals, provide opportunities for emerging voices, and celebrate the diversity of documentary cinema. The projects we’re working on are extensions of that mission—they’re designed to strengthen the connections within the European documentary landscape, promote innovation, and ensure that new voices, particularly those from underrepresented regions, have the opportunity to share their work with the world.

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 funding expert for two European financing bodies.