IDFA Project Space

Tailored to the needs of each filmmaking team and project, this in-depth talent development program combines project workshopping, mentorship, and longer-term creative support, allowing participants to develop their films through close exchange with experienced tutors and peers.

In 2026, IDFA Project Space takes place over four months, from June to September, with two online modules and one in-person week in Amsterdam. Throughout the program, filmmakers engage in an ongoing development process through plenary sessions, one-on-one consultancies, Filmmaker Talks, and group exchange, while working closely with tutors and peers on the creative development of their projects.

Program alumni have included the directors of acclaimed films such as All That Breathes, Apolonia, Apolonia, Do You Love Me, Writing Hawa, Taming the Garden, The Mother Of All Lies, and Where Are We Headed. Former tutors have included directors Pirjo Honkasalo, Aliona van der Horst, Kim Longinotto, Kumjana Novakova, Gianfranco Rosi and Audrius Stonys; editor and director Maya Daisy Hawke; editors Qutaiba Barhamji, Anne Fabini, Ollie Huddleston, Gladys Joujou, and Niels Pagh Andersen; producers Gema Juárez Allen and Bianca Oana, and film consultant Gitte Hansen.

This is a project-driven program in which participants focus on strengthening the narrative or other creative aspects of their documentary film project. Project stages range from the late development or early production stage to rough cut stage.    

The online component of the program, which takes place at the beginning and end of summer, consists of two elements: individual or group consultancy with industry experts, an inspirational program that includes online discussions with all participants. Parts of the online program will also be joined by a wider group of filmmakers.    

During the summer, the in-person part of the program takes place in Amsterdam, where participants are matched with a tutor—an experienced director, producer, or editor—and spend an intensive week together working on their projects. 

Participants in Development & Production section focus on the creative aspects of their work through individual sessions, while participants in the Rough Cut section work closely with tutors to refine their films in the editing suite.  

Development & Production

This section focuses on strengthening film projects by working intensively on all story elements. Depending on the project phase, production-related questions can also be addressed.

Focus is on:

• Shaping a film idea or concept into a strong guiding narrative, either by defining characters and their stories or by establishing thematic structures for non-character-driven projects.

• Finding the right balance between different storylines and shaping underlying themes

• For character-driven films: identifying the main characters and exploring how they add to your story.

• Visualizing the story: how can cinematography, sound design, and editing strengthen the narrative?

Rough Cut

The Rough Cut section requires shooting to be near completion at the time of application, with a rough cut ready by the start of IDFA Project Space. Participants work intensively with an experienced editor to refine the rough film.

Focus is on:

• Defining the organizing principle of the film.

• Identifying key characters and/or themes, and refining the storylines.

• Fine-tuning the film’s rhythm and dramatic layers.

In 2026, the selected projects reflect a wide range of cinematic voices and visual approaches, from deeply poetic and cinematic storytelling to layered explorations of personal and historical realities. While distinct in form and theme, the projects shared a strong artistic vision and a commitment to urgent, resonant narratives. Several participating filmmakers have previously received support through other IDFA programs, including the IDFA Bertha Fund.

IDFA Project Space is open to directors making their first or second feature documentary. Film school students are not eligible. In line with IDFA’s mission, the focus is on creative documentary projects. Filmmakers selected for IDFA Project Space also have the opportunity to bring a sparring partner, such as a creative producer or co-director. Filmmakers who are participating in the Rough Cut section must bring their editor. Participants are expected to have a working knowledge of English and to be available for the full duration of IDFA Project Space.

IDFA’s talent development programs aim to support a broad range of creative documentary projects. Some participants may already have received support from the IDFA Bertha Fund, which supports filmmakers from Africa, Asia, Eastern Europe, Latin America and the Caribbean, and Oceania.

Applications are closed for 2026. They will open again at the end of the year.

The following information must be included in the entry form:

• Logline (max. 50 words): Provide a summary of your story.
• Synopsis (max. 400 words): Give an overview of your story, introducing the main characters (if applicable) and potential plot points.
• Project description (max. 1000 words): This should include background information, main protagonists, access to protagonists, and the anticipated story structure, and narrative line. If your project is not character-driven, what is your project concept, what are the themes you want to explore and how is the project constructed?
• Visual approach (max. 1000 words): This should include your creative vision for the finished project—its visual look and feel. Explain your intended use of cinematic language or any artistic approach that supports the storytelling.
• Project timeline (max. 200 words): A timeline from the project's current state to the anticipated completion date. Your timeline should cover both the creative and production processes.
• Project stage (max. 200 words): Explain in detail what progress you will make between the moment of application and the start of the program in June (include important steps, meetings, or changes in the stage of production). This will help us better understand the project's suitability and the needs you may have during the program.
• A detailed biography and filmography of each of the participants (max. 500 words each).
• Your goals for attending IDFA Project Space (max. 750 words, or a 4-5 minute video): Include what you want to achieve during the program. Please share openly the challenges and obstacles you are facing, as well as the specific needs of your project. This can be either a written answer or a video.

If you are applying with a project for the Development & Production section:

• Original audiovisual material of the project. This can be a teaser or selected research material, preferably representative of the style. A photo presentation, dossier or material from other resources that serve merely as a stylistic example is NOT accepted.
• Please note that if you are selected, we will ask you to send us a written update on your progress in the time between submission and selection.
• Previous work of the director (audiovisual material—if available).

If you are applying with a project for the Rough Cut section:

• An edited sequence of the project or a selection of scenes (approx. 20 minutes). 
• Please note that the rough cut should be ready no later than in June. If not, the project cannot participate in the program. 
• Previous work of the director (visual material—if available).

Optional

• Letter of recommendations from experienced film professionals (film directors, producers, official funding bodies, film schools).
• Still(s) of your project.

If you have questions about the application email idfacademy@idfa.nl

In assessing projects, a selection committee—made up of both internal and external industry experts—will consider the project’s qualities, its fit within the program timeline, and the motivation and goals of the participants.

All applications that are complete will be considered for selection. Within four to six weeks, filmmakers will be informed if their project is pre-selected. If a project is pre-selected, participants may be invited for an online interview. Filmmakers will be informed of this possible interview by mid-April. The results of the selection will be communicated at the end of April.

Projects entered to IDFA Project Space cannot be withdrawn after selection. From the selected projects, we expect commitment and availability to attend all sessions of the program, both online and in person. 

Selection Committee

The IDFA Project Space 2026 selection committee included external members such as: Darya Bassel (Producer), Kasia Boniecka (Editor), Armi Rae Cacanindin (Producer), Rodolfo Castillo Morales (FICG), Kesmat el-Sayed (Producer), Laurien ten Houten (Consultant), Ollie Huddleston (Editor), Sara Ishaq (Filmmaker), Salome Jashi (Filmmaker), Gema Juarez Allen (Producer), Nyasha Kadandara (Filmmaker), Heejung Oh (Producer), Audrius Stonys (Filmmaker), Alex Szalat (Consultant), and Mohanad Yaqubi (Filmmaker/Producer).

It also included internal members such as: Isabel Arrate Fernandez (Artistic Director) Meike Statema (Head of Talent Development), Selin Murat (Executive Director IDFA Bertha Fund), Jasper Hokken (Programmer), Laura van Halsema (Programmer), Joost Daamen (Head of Program), Ron Ma (Program Coordinator), Adriek van Nieuwenhuijzen (Head of Industry), Marina Burić (Markets Manager), Monica Baptiste Gouffray (Coordinator Filmmaker Support Department) and Eline Warnier (Talent Development Producer).

The participation fee is €1,400 for one person (excluding 21% VAT) and €1,800 for two persons (excluding 21% VAT). Selected projects are asked to confirm participation within a week of notification. Upon confirmation applicants commit to the payment of the fee before May 30, 2026, and to attendance on the dates as indicated by IDFA Project Space.

The fee includes:

• Accommodation for international participants (including breakfast), (1 room, double or single use).
• Full tutoring. 
• Editing facilities for Rough Cut projects.
• Social events organised during the program.

This fee does not cover:

• Travel expenses to Amsterdam.
• Food outside of social events.

We understand that finding finance to cover the costs of participation can be challenging. Therefore we advise to start looking into national, regional organisations and other funding options as soon as possible. Once selected we can provide the necessary letters to support such a request.

• Online week: June 1 to 5
• Amsterdam week: June 29 to July 4
• Online week: September 1 to 4