Why Flemish Docs Are Making a Splash at Canneseries
The series sheds light on the issue of femicide in a unique and impactful way, which immediately caught our attention. It’s a topic that is unfortunately all too relevant in today’s society, and we felt it was important to bring this story to our audience.
As for “The Deal with Iran,” it was a project that came to us through an external producer. The series delves into the intricacies of international politics and the negotiations surrounding the Iran nuclear deal. It’s a complex and timely topic that we felt would resonate with our viewers.
Both of these projects embody what we look for in a documentary series – relevance, impact, and a fresh perspective on important issues. We are proud to have them represent VRT at Canneseries and to showcase the talent and creativity of our documentary filmmakers.
In the ever-evolving landscape of documentary production, we are committed to pushing the boundaries and exploring new ways to tell important stories. We look forward to continuing to work with both internal and external partners to bring unique and compelling projects to our audience, both in Flanders and beyond. Her connection with the theme, along with Nahid Shaikh’s unique perspective, allowed them to approach the subject with a fresh outlook and gain the trust of victims’ families.
“The Deal with Iran” is a production from Diplodokus, a small indie production house that caught our attention with its portrayal of the Olivier Vandecasteele affair without featuring him in the series. Instead, the focus shifted to Belgium’s dealings with Iran and the ensuing controversy. Diplodokus and their team delved deep into the topic, presenting the story in a captivating manner that went beyond just the news.
Both of our Canneseries selected projects have been broadcasted on VRT Canvas and are also available on our streaming platform VRT MAX. Our audience today consumes content in various ways, with linear TV still being popular for documentaries on our network. However, younger audiences tend to watch content online more frequently. Utilizing linear TV for promotion is crucial to reach both the press and the public.
Having been in the industry for many years, I believe that documentaries as a medium are more relevant than ever. Projects like “Godvergeten,” which explored the history of sexual abuse by Catholic priests in Flanders, showcase the power of documentaries in portraying the truth and connecting with viewers. As a public broadcaster, it is our duty to present documentaries that reflect the reality of our world, especially in a time where fake news and AI-generated content are prevalent. Documentaries have the ability to go beyond news and establish trust with our audience.
