Encounters at 27: Championing Disruptors and Shaping Africa’s Documentary Future

For nearly three decades, Encounters has stood as a beacon for international documentary cinema, showcasing critically-acclaimed and award-winning films from around the globe. Now in its 27th year, the Encounters South African International Documentary Festival is set to once again captivate audiences with a program that is both timely and unflinching between 19 and 29 June.

This year’s selection delves into the “lunacy of 2025” by confronting pressing global issues and celebrating those who dare to challenge the status quo. From exposing state propaganda to defending indigenous lands and pushing artistic boundaries, the films are described as “tough and fresh,” championing disruptors and artists who strive to make the world a better place.

In this interview, we speak with Encounters Publicist Joy Sapieka and Festival Director Mandisa Zitha to discover what audiences can anticipate from this year’s festival, delve into the local documentary showcase, explore the festival’s initiatives to foster the growth of the South African documentary industry, and understand their vision for Encounters’ long-term success as a vital cultural institution in Africa.

Encounters has a history of curating some of the most critically-acclaimed and award-winning international documentary films. Can you tell us what we can look forward to this year?

JS: Encounters is in its 27th year. This year’s programme takes on the lunacy of 2025 by hitting its pressure points. The films are tough and fresh. They champion disruptors who expose state propaganda, defend indigenous land, or challenge corporate giants. And they celebrate artists who push culture and move us to better this world.

Films are divided into 5 Themes : The Frightening Reality of Now ; Ways of Learning; Agency- Standing up to Power; Memory, Trauma and Identity and Art and Impact. Watch out for How to Build a Library on the opening night film

Shifting Baselines Set on the perimeter of Elon Musk’s Starbase facility where SpaceX rockets and Starlink’s satellites are launched, the film includes interviews with people who have come from around the United States to set up camp in the area and bear witness to what some of them view as our first tentative steps towards becoming an intergalactic species.

Union; chronicles the struggles of a group of Amazon employees to form a local union. Union is a deeply human drama about the fight for agency and dignity in a globalised world.

Mr Nobody against Putin, tells the story of Pavel Talankin, a school videographer in small-town Russia whose deep engagement with his students is interrupted when the country invades Ukraine, and a soviet-style propaganda programme is suddenly instituted at the school.

The Walk, Amal, a 12-foot puppet (made by the Handspring Puppet Company) representing a Syrian refugee girl, embarks on a transformative journey covering 8,000 km across Europe, whilst raising awareness on the struggles of displaced children amidst a global refugee crisis.

Anslem: Wim Wenders looks at the life, work, and processes of the seminal German artist Anselm Keifer.

The Blue Road centres on the controversial Irish author, Edna O’Brien.

When it comes to the local documentary showcase, which films are likely to draw the most attention this year?

Normal to me; celebrates the lives of adults with intellectual disabilities at the Joyce Chevalier Centre in Fish Hoek by challenging stereotypes within the community through stories of love, ambition and everyday triumphs.

Fitting in; in this carefully observed film, a group of young South African men from various walks of life begin their student experience at the elite University of Stellenbosch.

Albie A Strange Alchemy; a poetic portrait of Albie Sachs, anti-apartheid icon and constitutional court judge, whose experiences under the apartheid regime and visionary ideals helped forge South Africa’s path to justice and transformation.

Sam Nzima: a Journey through his Lens; going behind the lens, Sam Nzima’s life unfolds against one of history’s most recognised photographs, the haunting image of Hector Pieterson during the 1976 Soweto Uprising.

How does Encounters navigate the financial realities of running a major film festival, and what creative strategies are being employed to ensure its continued success?

MZ: Like many cultural institutions around the world, Encounters is feeling the pressure. The combination of ongoing political and economic uncertainty is tightening already limited funding streams. Locally, there’s more demand on stagnant budgets, while globally, political shifts are making it harder to access traditional sources of support. We’ve seen major festivals in the Global North grappling with these same challenges — and we’re not immune.

Despite this, Encounters has held on to a strong network of local and international partners, which has helped us stay afloat. But let’s be honest: financial sustainability is an ongoing challenge that keeps coming up, year after year.

Right now, we’re focused on developing a long-term funding strategy. That means expanding our core funding base by aligning ourselves more intentionally with like-minded organisations who share our values and see the work we do as essential. We’re also working towards securing multi-year funding, so we’re not always in survival mode from one year to the next.

The festival itself remains a cornerstone of our work—it’s where visibility, connection and impact all converge. But we know that for real sustainability, we need more consistent, year-round programming. That’s how we build loyal audiences. That’s how we unlock funding that supports the work all year round, not just during the festival window.

Encounters is evolving — and we’re doing the work to ensure it keeps playing its vital role in the documentary space for years to come.

Beyond screening films, what initiatives or partnerships is Encounters undertaking to foster the growth and sustainability of the South African documentary industry?

JS: For nearly three decades, the Encounters Documentary Festival has been a major force in bringing African documentaries to local and global audiences. It’s not just South Africa’s biggest film festival in terms of attendance — it’s also a crucial platform for filmmakers to connect with their audiences, get the media spotlight, and find their way into international markets and festivals.

From the very beginning, Encounters has prioritised meaningful partnerships—both regionally and internationally. These relationships have opened doors we might never have reached on our own. Over the years, we’ve worked with the likes of IDFA (Amsterdam), Cannes Docs, MIPDOC, and the Trailblazer Award in France, just to name a few. One of our current highlights? Our partnership with DOK.fest München in Germany, which includes a special prize awarded to the Best Documentary by an African woman. The winner gets the chance to pitch her next project at the prestigious Master’s Pitch—an incredible opportunity for funding, production and distribution.

On the continent, our regional partnerships are more important than ever. As Africa’s documentary scene continues to grow, so does the need for a stronger, more connected ecosystem. Thanks to our collaborators at DocA (Kenya), we’ve been able to nominate emerging South African filmmakers—especially those with little market experience—to attend IDFA. These partnerships are about more than just access; they ensure we’re part of the bigger conversation. Together with organisations like DocA and The Durban FilmMart, we’re building bridges between African labs, training programmes and the future of documentary storytelling on the continent.

Looking ahead, what is the long-term vision for the Encounters Festival and how will it solidify its position as a vital cultural institution and a leading platform for documentary in Africa?

MZ: While most people know Encounters for our annual festival, what happens beyond those few weeks is just as important. Through the Encounters Training and Development Institute, we’re working year-round to nurture new voices and create space for a more inclusive and dynamic African documentary landscape.

Over the years, the festival has helped launch many films onto global stages — but we know there’s still so much untapped potential. That’s why we’ve started reimagining what our work looks like beyond the screenings. The Institute allows us to secure funding for year-round programming, build skills in festival management and curation, and support emerging filmmakers, particularly those from underrepresented and under-resourced communities.

Our focus now is on deepening regional collaboration and developing consistent, accessible programmes that support filmmakers at every stage of their journey. We’re currently working on a long-term training and development strategy in partnership with academic institutions and regional initiatives. It’s all aimed at empowering the next generation of African storytellers with the tools, mentorship and platforms they need to thrive.

The vision is big: we want Encounters to grow into the go-to hub for the Pan-African documentary community — a place where stories are nurtured, networks are built, and the industry grows stronger together. This isn’t just about the festival anymore; it’s about shaping the future of documentary filmmaking on the continent.