AKIDocs and Documentary Films in Azerbaijan
There is no doubt that documentary film is currently experiencing its golden age worldwide. Unfortunately, alongside valuable and auteur-style works, Azerbaijani documentary cinema also includes a significant number of films made with a television program aesthetic. However, in recent years, a new generation of Azerbaijani filmmakers was able to bring youthful energy into the realm of documentary cinema. At this point, even if it sounds formal, it’s impossible not to mention the projects and teams selected for AKIDocs. So;
- “Sweet Memories in an Abandoned Village” (Director: Aynur Kazimova)
- “Sky Nomads” (Director: Aytaj Suleymanova, Producer: Elmaddin Suleymanov)
- “Dado” (Director: Azer Allahverdi, Producer: Rafael Rzayev)
- “Jahan’s Alphabet” (Director: Eljan Mammadov, Producer: Zarif Bakirova)
- “My Grandfather, My Father and me” (Director: Haji Safarov)
- “Untitled Memory” (Director: Nargiz Mammadli, Producer: Alemdar Faig)
- “Resident of the 13th Floor” (Director: Parviz Hasanov, Producer: Parvana Hasanova)
- “Crystal” (Director: Ruslan Mollayev, Producer: Sabina Jafar)
- “The Little Pigeon Enthusiast” (Director: Shahin Huseynli)
- “A Man Deprived of Freedom” (Director: Intigam Hacili, Producer: Shahin Huseynli)
- “My Virtual Home” (Director: Ulviya Ahmadova, Producer: Nijat Dadashov)
- “Dis/fashion” (Director: Anar Salahov)
- “Sea beauty” (Director: Sevinc Mahmudova)
- “The Home that awaits you sincerely” (Director: Alida Mahmudova)
- “Motivator 2” (Director: Kamal Mushfiq, Producer: Yagub Murtuzlu)
In recent years, film projects and completed works by young Azerbaijani directors have successfully represented the country on numerous international platforms. However, not being selected sometimes comes down to several key factors — poorly written or unengaging synopses and loglines, limited local funding, underwhelming trailers, or inaccurately prepared budgets, among others. Taking all of this into account, after nearly six months of preparation, the Azerbaijan Union of Filmmakers announced the launch of the “AKIDocs: Documentary Development and Pitching International Program”in April of this year.
From the very beginning, we based the process on the 5+3 model (5 participants, 3 observers). To our delight, the applicants exceeded our expectations. As a result, 15 participants (11 + 4) were selected for the program. So, if anyone claims that there are no documentary films currently in production in the country, you can easily prove them wrong. Because right now, even if most are still in development, young Azerbaijani filmmakers are working on 15 documentary projects, ideas, and works in progress.
At this stage, I’d like to highlight what’s special about the mentor of this project. Tue has worked closely with CineDoc Tbilisi and taught documentary filmmaking in over 40 countries. It’s fair to say he was one of my very first mentors, back in 2020 during the CineDoc Summer School. He always believes that no matter what, a good film always travels well. Let me share a moment I witnessed in March 2024 at the CPH: DOX festival. The selected “heavy-hitters” of CPH:Forum were heading to lunch after their pitches. Among them were director Torstein Grude and producers Siniša Juričić and Torstein Paralius, who had just wrapped up their on-stage presentations. On their way out, they spotted Tue standing near me and director Murad Allahverdi, and they stopped in their tracks.
They greeted him with great respect. And if I’m not mistaken, it was Siniša Juričić who turned to Tue, in front of everyone, and said: “You are my role model in documentary filmmaking. I truly hope that by the time I reach your age, I’ll be able to teach like you do.” This confession surprised me greatly. I turned to Tue and asked, “I assume, you are quite famous in Denmark.” He laughed and replied, “Not in Denmark. But in Europe.”
It was only then that I realized there truly are many dedicated professionals around the world who have devoted their lives to documentary filmmaking and firmly believe in its power to make the world a better place. It’s no coincidence that during one of our conversations about the project, he mentioned that 2025 marks his 50th year in documentary film. Laughing, he said, “This needs to be celebrated with wine in Baku.” AUF took his joke warmly, and on the final pitching day of AKIDocs, we surprised him by celebrating his 50th anniversary with his favorite band, The Beatles, performing “All You Need Is Love,” along with a special ceremony. Because the Azerbaijani documentary scene highly respect experts who truly love it.
International experience shows that intense work pays off, especially during pitching. In other words, when a mentor “pushes the participants to their limits,” a strong visual result can emerge. So, what did AKIDocs give us?
More than 10 participants presented their projects in English, along with a polished trailer version of the same project. We can confidently say that over 80 percent of the projects updated their trailers and made them more visually appealing. Six projects won. The winners received real financial support.
So, what did the AKIDocs experience teach us?
The Azerbaijani film community doesn’t just need stronger ties with the international world — first and foremost, it needs to build tighter connections within itself. It’s not only about talking cinema; even simple, everyday conversations matter in this community. Projects like this bring young people together and, in a way, “light a fire under a pot full of talent, ready to boil.” The filmmakers discuss their ideas with each other, give feedback on each other’s trailers, and even the overall atmosphere becomes a learning space.
There’s very little theoretical knowledge in Azerbaijani documentary cinema. There’s talent, there’s love for the genre — but there’s a big lack of funding. We don’t even have the habit of regularly watching documentaries. And we can’t really blame anyone for that. Even though our country’s only art and film school was founded back in 1923, to this day, we can’t even talk about the existence of a proper specialization in documentary film.
That shows why projects like AKIDocs should happen at least twice a year. And in any development project (not necessarily organized by AUF), the principle of continuity should be protected. Because in documentary film, we still have a lot of “documents” to learn from.
But what do we need to fix in ourselves?
From my point of view, first of all, we don’t really know how to handle professional communication and networking — and I wouldn’t be wrong to say that. Most applicants seem to think the selection committee is reading their applications while sipping coffee in a luxury villa in Bali. If the application form is written in a certain order, then the answers should follow that same order. Otherwise, by the time the committee members get to the end, they’re left wondering — wait, did they even write their name? What was the project called?
It also looks strange when people who’ve worked in film for years don’t include links to their previous work in the portfolio section. I mean, you’ve done so much in cinema — does it really not come to your mind that someone might actually be eager and sit down to seriously watch your work? Where does this lack of confidence come from? Because when an applicant presents themselves well, the committee is genuinely interested in checking out their past works.
Another thing — the moment we’re told “talk about your film,” we light up like flowers in spring. But when it comes to writing it down, as the saying goes in the well-known epic “Kerem feels like to cry.” That’s why, before you write about your film, talk to yourself about it first. Record your voice while speaking, then sit down and turn that into text. Or read what you’ve written out loud to yourself. Do you believe in it? If you were on the jury, how would you react? Did the text interest you? If the answer is yes, then it will probably interest a third eye too. But if you’re unsure, don’t expect someone seeing your project for the first time to be impressed. A logline isn’t a proverb — it’s a two-sentence summary of your film.
As we mention the proverbs one of the “fathers” of cinema Alfred Hitchcock says, “In fiction films, the director is God; in documentary films, God is the director.” A documentarian chooses to open their heart to the universe, to set their ego aside, and to share their message through real people. Because for them, life is cinema.
The successful ending of AKİDocs proved us this: from Dado’s story in Sadarak to the village of Yagublu in Gadabay district, from the “Sky nomads” of Beshbarmaq Mountain to the “Virtual home”s of Shamakhi — 15 films in Azerbaijani cinema are all saying the same thing: “My name is Jahan.” (Jahan means universe, world in Azerbaijani) Because for these 15 authors, Azerbaijan — a piece of the world — is cinema.
See you at the next AKİDocs…
Afag Yusifli