DOC Meeting Argentina

DOC Meeting Argentina is a space devoted to documentaries meant to encourage the construction of networks among cinematography and television industry professionals, at the national, regional and international levels; the development of projects under process; the creation of an area for the discussion of different strategies for co-production, marketing and distribution of the documentary genre; and, undoubtedly, a business area created to market documentaries filmed in various formats.

DOC Meeting Argentina Edition has a three-day duration and is geared to cinema and television producers, leaders of state-owned or private national and international television networks, filmmakers and television producers, public officials, cultural managers, lawyers, educators and other film and television industry-related professionals.

DOC Meeting Argentina is divided into three distinct sections:

Conferences, Workshops and Seminars. Two-day duration. Representatives of television networks and co-production funds and forums, among other professionals, will be presenting lectures on topics such as co-production, acquisitions, distribution, new technologies, legislation and copyright.

One On One Meetings. One-day duration. A business roundtable will be held as part of DOC Meeting Argentina. In this roundtable, producers, buyers and sellers will have a chance to show their projects – completed or under development – to co-producers, television representatives and organizations.

Pitching Forum. In DOC Meeting Argentina, producers and/or directors will have a chance to present their projects to a group of 12 Commissioning Editors (representatives of international television networks who are responsible for the co-production or pre-purchase of documentaries), with the intention of receiving international financing for their projects. Twenty-four projects will be selected.

Shadows of War
Innovation and Tradition in European Cinema 1940-1950

The 1940s: a decade of extreme conditions and social unrest – brutal economic conditions, a devastated infrastructure and tight political control. The general topic stays – but with new perspectives.

The focus will be on filmmakers’ reaction to war and the aftermath. What artistic solutions did film directors in different European countries find to handle the chaos and the human and cultural catastrophes around them?

The central focus will again be the repercussions of the general economical and political situation on the aesthetic and artistic production. One facet of this will be a look at the fractures or continuities in filmmakers’ careers.