The Unseen Heroes Behind Powerful Documentaries: A Conversation with IDFA Bertha Fund's New Leader
Earlier this year, Selin Murat embarked on a bold new chapter, transitioning from her role as markets manager at IDFA to become the executive director of the prestigious IDFA Bertha Fund. Stepping into the shoes of Isabel Arrate Fernandez, who helmed the fund for an impressive 23 years, Murat inherits a legacy of unwavering support for documentary filmmakers worldwide. Fernandez, now IDFA’s artistic director, continues to contribute part-time as deputy director, ensuring strategic filmmaker support remains a priority.
In an exclusive interview with Variety ahead of her inaugural Dutch festival in this new role, Murat shared her excitement about becoming a funder for the first time after over 15 years as a producer and industry programmer. “It’s fascinating to be on this side of the table,” she reflects. “For years, I’ve worked alongside filmmakers, producers, and other funders, all united by the goal of bringing independent documentary films to life. Now, I get to directly contribute to that mission.”
But here’s where it gets challenging: Murat’s first few months were akin to “diving into the deep end.” With four funding rounds completed this year alone, she’s spent countless hours reviewing applications and assembling selection committees. In 2025, 16 IBF-supported films will grace the IDFA screen, including standout titles like Massoud Bakhshi’s All My Sisters, María Silvia Esteve’s Mailin, and Vladlena Sandu’s Memory. Yet, beyond the sheer volume of work, Murat grapples with systemic issues plaguing the industry—from the financial struggles of documentarians to the critical role of documentary filmmaking in times of sociopolitical upheaval.
And this is the part most people miss: Documentary filmmaking, Murat asserts, is “perpetually in crisis.” Filmmakers often operate under grueling conditions, whether facing financial strain or navigating conflict, oppression, and threats to free speech. “We’re in this unique, almost heroic corner of the film industry,” she notes. “Sustainability has always been a struggle, with each decade bringing its own set of challenges. What makes my role so rewarding is collaborating directly with filmmakers to find solutions—and, of course, providing the financial backing they desperately need.”
One of the fund’s most impactful initiatives has been its targeted support for Ukrainian and Palestinian filmmakers in recent years, aligning with its mission to “empower independent, author-driven documentary filmmaking in regions where funding and distribution are structurally hindered.” Today, the IBF extends its reach across Africa, Asia, Eastern Europe, Latin America, the Caribbean, and Oceania.
Murat highlights the profound impact of independent documentaries from countries like Ukraine, Palestine, Congo, and Sudan. These films, she explains, “defy easy consumption. They’re crafted over years, layered with thought and complexity, offering unfiltered insights into the human experience. They’re a testament to why everyone should engage with independent documentaries.”
But with so many urgent projects vying for funding, how does the IBF decide where to allocate resources? “Our selection committees constantly ask: What’s the fund’s mandate? What are we truly seeking?” Murat explains. “While some funds prioritize impact or sociopolitical themes, the IBF’s focus is on supporting independent filmmakers who tell stories from their unique perspectives. That’s our guiding principle.”
As her first year draws to a close, Murat is already envisioning the fund’s future. Beyond backing individual projects and filmmakers, she aims to strengthen the “ecosystems” that sustain them, fostering resilient communities. She cites an inspiring conversation with a founder of the Palestine Film Fund, who emphasized the need for “knowledge sharing to ensure long-term sustainability for future entities.”
“That’s the vision I want to carry forward across all the regions we serve,” Murat says. “While projects will always be central, it’s equally vital to nurture healthy, sustainable communities. At IBF, we’re a small team of three—we can’t possibly understand every local context or speak every language of the countries we support. That’s why I’m passionate about forging sustainable partnerships with like-minded, independent communities on the ground. If we can amplify their efforts, that would be truly transformative.”
Controversial Question: As documentary filmmaking continues to grapple with sustainability and access, is it enough to rely on funds like the IBF, or does the industry need a more radical overhaul? Share your thoughts in the comments—let’s spark a conversation!
