Each November, RIDM (Les Rencontres internationales du documentaire de Montréal), also known as the Montreal International Documentary Festival, showcases a selection of daring, artistically-driven films that display the immense and extensive possibilities in the documentary tradition. The selected works are often formally challenging, experimental, and embrace fiction and non-fiction practices in equal measures—qualities that strengthen the political and personal commitments embedded across the programme, emphasizing the necessity of considering aesthetic concerns alongside social and ethical ones.
As a festival, RIDM distinguishes itself in the Canadian documentary landscape as a thrilling destination that rewards creative risk and exploration, existing alongside international peers such as Camden International Film Festival in the United States, Visions du Réel in Switzerland, International Film Festival Rotterdam in the Netherlands, and FIDMarseille in France. The collective responsible for programming the festival also reflects new ways of re-imagining the festival space to foster innovation and expand the canon.
To spotlight the team responsible for the past several editions of RIDM, POV interviewed the three artistic directors—Ana Alice de Morais, Hubert Sabino-Brunette and Marlene Edoyan—over email about their collaborative curatorial process and how this unique structure informs the identity of the festival. In the spirit of collectivity, the trio gathered together during their busy schedules to answer the questions as a singular voice.
RIDM stands for Les Rencontres internationales du documentaire de Montréal. It’s a documentary festival, but one that often challenges the boundaries of non-fiction and the aesthetics of what a documentary can or should look like. The term “encounters” seems to be the keyword here—it’s suggestive of a meeting site for those interested in the unexpected. How would you describe the identity and priorities of the festival?
As we enter our fourth year in the artistic co-direction of the festival, our goal is to honour RIDM’s legacy while adding our own perspectives and sensibilities. We aim to offer programming that remains true to our core values: diverse, inclusive, and expansive, while ensuring that RIDM continues to be a place where filmmakers can present their work in a dynamic, open environment in both linear and non-linear ways. We seek out films that make daring aesthetic and narrative statements. More importantly, we look for works that imagine reality through new cinematic forms, films that use original and innovative visual languages to capture the complexities of the world.
We are always excited to present films that have the ability to move, challenge, and inspire audiences. This year, for example, we were drawn to films that prompted us to reconsider how we perceive, understand, and represent different realities. Hybrid films, yet again, have found a special place in our programming, both in the local and international selections. These films challenge traditional labels and defy strict classification.
The festival’s vision has remained consistent since its founding: to create a space for meaningful encounters between filmmakers and audiences. RIDM is fundamentally about bringing people together, to create a shared space for dialogue, exchange, and discovery.
Within the festival circuit, where do you see RIDM positioned? It remains an excellent platform for filmmakers from Quebec and Canada at large, while also showcasing a number of international films. It’s also an extraordinary destination as a North American premiere for films that held their world premieres in Europe over the spring and summer, or shortly before at IDFA.
The RIDM aims to serve as a platform for local talent, both nationally and internationally. Our curatorial approach is distinctive, making the RIDM a key destination for bold international films, as reflected in our ongoing desire to broaden the horizons of documentary cinema.
Our festival takes place at the end of the year, so our focus is not necessarily on attracting North American or Canadian premieres, but rather on crafting an audacious and thought-provoking program for both audiences and filmmakers who resonate with this vision of cinema. RIDM also plays an important role in broadening the public’s perspectives on cinema, particularly in a context where documentary works often struggle to gain widespread exposure.
The process is intentionally collaborative and horizontal, allowing for diverse perspectives and a deeper level of discussion.
Since 2021, the festival’s artistic direction has been guided by what has been described as a “programming collective.” This was a significant change from previous years, where Bruno Dequen served as the sole artistic director since 2016. I’m struck by this unique structure, where the curatorial power and responsibilities appear to be spread horizontally. How did the festival arrive at this decision? What are the advantages of working as a collective?
The decision to transition from a sole artistic director to a programming collective was proposed to us by Marc Gauthier, the festival’s director. As a result, we were brought on with this mandate already in place. We feel fortunate to be working within this collaborative framework, as it aligns with our shared values. While our individual differences reflect personal tastes and aesthetic preferences, so we may sometimes diverge, we view these differences as opportunities to challenge and broaden our perspectives. Ultimately, this dynamic strengthens our collective vision and results in a more nuanced and comprehensive approach to programming.
As a collective, we function both as programmers and artistic directors. The process is intentionally collaborative and horizontal, allowing for diverse perspectives and a deeper level of discussion. We challenge each other’s opinions, which helps ensure that every decision is thoroughly considered. Having three complementary perspectives most likely allows us to reach a broader audience. Over the years, we’ve gained the confidence to express ourselves individually, while contributing to a collective voice.
I’d love to hear about the process you undertake each year. Where do you begin? Do you discuss any ideas or goals in terms of vision, scouting more films from certain regions, engaging particular audiences or industry members, taking more artistic risks?
Our research begins by attending other festivals, staying alert to emerging trends, and actively seeking new collaborators. We have specific goals in mind, ensuring that our ideas are aligned, but we also maintain an open mind and leave room for surprises. Sometimes the choices may seem more obvious; sometimes we need to dig deeper and search more intentionally to find the films that truly resonate with us.
This year’s lineup feels particularly cohesive. We place great importance on staying open to new possibilities and taking risks, refusing to underestimate the intelligence and sophistication of our audience. We believe that programming challenging films is essential, not only to provoke thought but to push the boundaries of how we understand and experience cinema.
Central to our work is fostering connections with both the industry and filmmakers. Our Focus program [covering a sample of films from one nation], for instance, is planned a year or two in advance, requiring strong partnerships with institutions that share our vision. We work hard to cultivate new relationships in regions where we previously had limited connections, with a particular interest in Asia, Africa, and Latin America. These regions are central to our programming efforts as we strive to bring more diverse voices and perspectives to the forefront by working with local filmmakers, producers and institutions directly.
A film can have a compelling narrative, be technically accomplished, and it may have even won awards at other festivals, but it doesn’t guarantee a spot at this one. While watching works for consideration, what types of questions are you asking to determine whether it’s right for RIDM?
First and foremost, we engage with the films on a personal level, reacting to them as individuals. We want to be moved by a film’s proposal, to experience it through our senses, emotions and intellect.
We also place a strong emphasis on supporting local talent. Quebec has a rich and vibrant cinematic culture that we are committed to nurturing and showcasing in every way possible. All national submissions are reviewed by us, as we believe RIDM serves as a vital springboard for the careers of local filmmakers, both from Quebec and across Canada. Our aim is to stay strongly connected and involved in the careers of these filmmakers.
Selecting international films involves a different process, one that requires exploring a wider range of sources. We discover these films through submissions, but also through other festivals and platforms that provide us with a broader perspective on global cinema.
Which festivals do you attend to seek out films?
We usually try to go to Berlinale, Hot Docs, Visions du Réel, FIDMarseille. In recent years, we have also attended festivals such as Olhar de Cinema in Brazil, Dokufest Kosovo, St-Louis DOC in Senegal, DMZ in South Korea, CPH:DOX in Denmark, Rotterdam in the Netherlands, with a desire to visit festivals outside of Europe.
This year, the festival showcased 38 filmmakers who are screening their first or second works. How do you seek out emerging artists?
As part of our commitment to fostering the careers of local filmmakers, we strive to support and promote young talent both during the festival and beyond. We follow the development of their careers, offering opportunities for visibility and growth, and continue to advocate for their work in the years following the festival.
Discovering emerging filmmakers through film submissions or via other festivals is one of the most fun parts of programming and we take the responsibility very seriously. We have had the “Soirée de la relève” [Night of Revelations] showcase for ten years now, and this year we had the “Emerging Talent Day” entirely devoted to emerging filmmakers. The New Vision competition is also aimed at highlighting first features.
Another key pillar of RIDM is the Forum, which serves as our industry and market component. We believe that a well-curated festival program is built on a strong and organized market. The Forum plays a crucial role in bridging the gap between filmmakers and decision-makers, offering a space for new talent to be discovered and for industry professionals to engage with innovative ideas and fresh perspectives. As programmers, we work closely with the Forum to develop initiatives that support the future of documentary cinema, ensuring that emerging voices are nurtured and that these works have the opportunity to find their place in future programming.
What films or programs are you excited for audiences to see this year?
It’s always challenging to single out just one or two films, but we take great pride in our retrospective and territorial focus programs, as they truly capture and reflect the essence of the festival in a meaningful way. This year, the retrospective “Iva Radivojevic: Imaginary Landscapes of Dislocation” has provided an opportunity to reflect on how and why we organize retrospectives around a filmmaker’s body of work. Iva is a director, screenwriter, and editor who possesses a strong and singular voice. Her projects, which oscillate between essay and fiction, offer compelling works that we are happy to share with our audience.
We have a deep appreciation for the short film format, which we believe is a powerful and creative medium for exploration, offering audiences the opportunity for unexpected and delightful discoveries. By curating both national and international works within the same programs, we aim to foster a pluralistic dialogue between the films, encouraging diverse interpretations and connections. However, we do not seek to dictate how these works should be received; instead, we allow the films to speak for themselves and leave room for individual audience experiences.
