COPENHAGEN — As documentary festivals navigate an increasingly polarized world, the CPH:DOX event in Copenhagen stands out for its commitment to artistic independence, according to its artistic director Niklas Engstrøm. In a recent interview, Engstrøm emphasized how the festival's structure shields it from government interference, allowing filmmakers to tackle contentious issues without fear of reprisal. This approach contrasts sharply with other major events, like the Berlin International Film Festival, where state funding can lead to political pressures.
The Berlin Film Festival, known as the Berlinale, receives substantial funding from the German government, which also oversees its supervisory board. This setup has enabled the government to exert influence, particularly when prize winners criticize Israel, for example. Engstrøm highlighted this dynamic to underscore CPH:DOX's different model. 'We are an independent institution,' he told Deadline. The festival does receive financial support from the Danish government, but it flows through the Danish Film Institute, adhering to the 'arm's length' principle. This principle ensures that 'no matter what we program, the state should not be able to interfere — no matter what films we screen, no matter what the directors of the films would say on stage or in other contexts, it's not a matter of any [government] minister [weighing in].'
Engstrøm acknowledged that while CPH:DOX has not faced direct political pressure from the national government or the municipality of Copenhagen, there have been instances in Denmark where local politicians have struggled to respect this separation. 'We haven't, luckily, experienced any political pressure from the government or the municipality of Copenhagen, but there are examples here in Denmark of politicians, especially on the local level, not being fully able to respect the arm's length principles,' he said. This independence allows the festival to program films on sensitive topics without self-censorship.
This year's edition of CPH:DOX, which concluded recently, featured several documentaries addressing the Israel-Palestine conflict and related issues in the Occupied Territories. Among them was Here and Not Here, a short film directed by Andrea Zimmerman, described as 'a cinematic diary from the West Bank and the Golan Heights – places caught between occupation, oppression, and a lived, collective experience.' British filmmaker Louis Theroux presented The Settlers, which examines the expansion of Jewish settlements in the West Bank, deemed illegal under international law. Another film, American Doctor by Poh Si Teng, follows three U.S. physicians volunteering in Gaza to treat children injured by Israeli ordnance.
Engstrøm defended the inclusion of such works, arguing that festivals must confront difficult subjects amid global tensions. 'In these dark times, festivals like CPH:DOX need to put forward all these difficult subjects and to screen films, also controversial films, films with different points of views, and to put them in a context where the films will be discussed by people that might not agree with the POV of the filmmaker,' he commented. He stressed the importance of dialogue in countering polarization fueled by social media echo chambers. 'I think that a festival like ours is really the opposite. We need to be able to sit down with people that we disagree with.'
Founded in 2003, CPH:DOX initially held its screenings in November, but that timing placed it in the shadow of the International Documentary Film Festival Amsterdam (IDFA). To gain prominence, the festival shifted to March, a change that took effect with the 2017 edition after skipping the entire 2016 year. This bold move paid off, and the 2026 lineup — note that the interview references the recent event, aligning with the festival's annual March schedule — included more than 200 films, with dozens of world premieres.
Highlights from the festival included the opening night film Mariinka, directed by Pieter-Jan De Pue, set in Ukraine and focusing on the war there and its prelude since 2014. 'Very much a film about the war,' Engstrøm noted. The event also drew high-profile guests, such as Oscar-winning actress Juliette Binoche, who presented her directorial debut In-I In Motion. The film documents a collaborative dance and theater performance with British choreographer Akram Khan.
Louis Theroux was a standout presence, not only screening The Settlers but also participating in two public talks. Engstrøm shared a personal favorite moment: attending Theroux's Q&A for The Settlers and a conversation between Theroux and John Wilson, director of The History of Concrete. 'I was there myself, both for Louis Theroux’s Q&A [about The Settlers], but also the conversation between him and John Wilson [director of The History of Concrete], and that was a personal highlight,' Engstrøm said. 'It was a lot of fun and really, I think a moment with two amazing filmmakers, thinking very differently, but also alike and putting out unique visions of what documentaries can be. So yeah, that was brilliant.'
The festival's timing overlapped with the Academy Awards on March 15, 2026, creating a celebratory milestone for Denmark. The Danish production Mr. Nobody Against Putin, directed by David Borenstein — an American based in Copenhagen — and co-directed by Pavel Talankin, won the Oscar for Best Documentary Feature. The film follows Talankin, a Russian primary school educator from a small town, who resisted Kremlin directives to impose a nationalistic and militaristic curriculum after Russia's full-scale invasion of Ukraine in 2022.
'The documentary “started out at our Forum three years ago where they pitched secretly because it was, of course, a confidential project,” Engstrøm notes. “[They] had a lot of great meetings here and started the journey that now had its culmination with the Oscar.'
Engstrøm reflected on Denmark's rising stature in documentaries. 'I think Denmark has, in the last 15 years, actually been the number 2 country in terms of documentary nominations after the U.S., which is pretty impressive for a small country with less than six million inhabitants… Actually, going on to win it was another step forward… Yeah, it was huge,' he said. CPH:DOX has contributed significantly to this emergence, serving as an international platform for Danish and global talent.
Awards at the festival underscored its vibrancy. Whispers In May claimed the top prize, while Amazomania, Dream Of Another Summer, and others earned recognition. Separately, National Geographic announced a reteaming with Oscar nominee Sara Dosa on Time And Water, described as a 'beautiful, painful, existential film,' which premiered at CPH:DOX.
Looking ahead, Engstrøm sees CPH:DOX as just beginning to realize its potential. 'For the festival as an international platform, I think we are just beginning,' he affirmed. The event is building an ecosystem for the documentary industry at a time when financing is challenging not just in Denmark but globally. 'So, we have all kinds of plans for that, that I think are super interesting,' he added.
This focus on independence and diverse programming positions CPH:DOX as a vital space for documentary storytelling. In an era of geopolitical strife and media fragmentation, the festival's model offers a blueprint for cultural events to foster open discourse without external meddling. As Denmark continues to punch above its weight in the genre, CPH:DOX's role in nurturing talent and ideas seems poised for further growth.
Other industry developments, such as the BAFTA Television Awards nominations dominated by Adolescence, and announcements around Bridgerton Season 5 focusing on a female love story, highlight the broader entertainment landscape. Meanwhile, updates on projects like Testaments from Chase Infiniti and Fremantle's Beta Show signal ongoing innovation. At CPH:DOX, the emphasis remains on documentaries that challenge and provoke, ensuring the festival's place at the forefront of the form.