At London's Luton Airport, I waited to depart for the International Documentary Film Festival Amsterdam, IDFA, which took place last November. Having made a film independently in England, I sought to meet with prospective television buyers, and to discuss upcoming projects with potential producers. Documentaries in most European countries are funded principally through television commissions and increasingly through international co- productions, in contrast to foundation funding that many filmmakers rely on for similar projects in the United States. The most ambitious and successful documentaries have lives before television in cinemas and at festivals, one of the most important of which is IDFA.

A film festival with three competitive sections and more than 150 films screening out of competition, IDFA offers a cross-section of the best in art, television documentary, and theatrical work. A record 120,000 tickets were sold for this year's screenings, over half of which were purchased by local residents. In addition to being the largest documentary festival in the world, IDFA also serves as an umbrella organization for the largest pitching event in Europe and a market for completed films. But even as the New York Times called the event the "genre's equivalent to Cannes," its programmers bemoaned the difficulties of raising its profile in America.

Martijn te Pas, of the programming department, described an "insecurity about reaching American filmmakers." No centralized structure is in place in the U.S. to disseminate information such as national film boards that exist in many other countries. Fellow programmer David Teigeler agreed that their research on U.S. films was problematic "because of the vastness and the amount of docs made there." Arguing that this diversity sometimes leads to more interesting work, te Pas questioned whether IDFA is considered a primary destination for American films. Only one of 20 films in each of the Joris Ivens Competition (for films longer than 60 minutes) and the Silver Wolf Competition (for those less than 60) was U.S.-produced. The First Appearance Competition, which features the work of emerging filmmakers, featured three American productions; several American films also screened in the noncompetitive Reflecting Images section.

To explain the relatively small number of American films in competition this year, Festival Director Ally Derks pointed first to the increasing insistence of several festivals, including IDFA, on screening only premieres in competitive sections. For instance, when IDFA featured several new American films in 2003 within a special "USA Today" program, Sundance's Geoff Gilmore was "not happy." At this year's Sundance, Derks saw several films she would probably have programmed, but which were not submitted to IDFA, possibly because of premiere requirements. She is discussing the advisability of such requirements with representatives of other festivals, but she is also quick to point out IDFA's commitment to supporting excellent work from outside the West. Every year, IDFA screens several films (both in competitions and in a separate section) that were realized partially through grants from the Jan Vrijman Fund, which supports filmmakers in developing countries. Derks found it easier to describe what IDFA doesn't look for ("no propaganda, no nature films, no news items"), but expressed a preference for provocative, cinematic films with a clear point-of-view, which strike a balance between form and content.

Beyond the festival itself, opportunities abound at the two other main components at IDFA. The co-financing FORUM, Europe's largest pitching session, runs each year for three days during the festival. Europe's commissioning editors, who choose what films their broadcasters will fund, gather around a large table. Selected filmmakers have 15 minutes each to speak about their new projects, screen clips, and answer questions. Although commissioners are already familiar with many films pitched, the FORUM is also used to introduce filmmakers and their projects to powerful decision-makers such as BBC Storyville's Nick Fraser and Arte France's Thierry Garrel. Most of the 100 commissioners attending this year are European, but there is also ample American representation by Discovery, HBO, LinkTV, several PBS affiliates, Sundance, and Trio. Access to a room where roughly every third person could provide financing for your project is arguably enough incentive for more American filmmakers to consider making the trip.

Especially for those who wish to attract European co- financing, the FORUM offers insights into commissioners' tastes beyond what is available on their channels' websites. Not typically accessible to most individual filmmakers, commissioners make themselves available for discussions throughout the FORUM. Aptly-named "matchmakers" are even on-hand to facilitate interactions between filmmakers and funders when the FORUM is not in session. Introductions to potential collaborators are also considered by some to be equally important - I attended the FORUM only briefly, but did meet a producer with whom I have already started working. Importantly, only 15% of projects pitched can be entirely non-European because the event is partly funded by the European Union. But Derks is hopeful that this restriction may be lifted by 2006, and anyone is eligible to attend as an observer.

This year, Albert Maysles (Primary, Salesman, Grey Gardens) pitched the only American project, the autobiographical Hand-Held and From the Heart. According to Tanya Meding of Maysles Films, they attracted strong interest from Britain's Channel 4, Canada's Documentary Channel, ITVS, NPS-The Netherlands, TVOntario, and YLE-Finland after coming to the FORUM backed by Arte. While they are still finalizing details with the other broadcasters, Maysles spoke of the "welcoming and hearty response" he received at IDFA. Included in this reception was an offer from moderator Jess Search to put in a word at Channel 4 (her former workplace) if he could tell her where he gets his trademark black frame glasses. Quipping that she could have his spare pair in that case, Maysles made good on his promise and sent her the glasses two weeks later (The glasses have since gone on to a life on their own).

New York filmmaker Nina Davenport, whose film Parallel Lines screened in the Joris Ivens Competition last year, was back as one of only six American observers at the FORUM this year. With BBC funding for her new project Grand Delusions, an allegory about America's involvement in Iraq through the experiences of an Iraqi film student whose school was bombed, Davenport came to meet with other broadcasters. Often in a room to the side of the main stage equipped with viewing facilities, she screened her trailer and met with about 15 commissioners. By the end of IDFA, Davenport had reached initial funding agreements with SBS-Australia and TVOntario, on the basis of her trailer, discussions, and her previous work. Interested American broadcasters have requested additional information and more footage before they could make similar commitments. "You don't have to jump through as many hoops...to get funding in Europe," said Davenport. "There is a tradition of auteurs, so your vision is more valued."

For promoting and selling completed films, Docs for Sale offers similar opportunities to engage buyers and programmers from nearly 100 festivals. As at other film markets, executives from sales agencies such as Films Transit International are making the majority of sales. Independent producers also face stiff competition from the other 350 titles - scaled back from 400 a year ago - and should realize that the most viewed films are almost invariably also in the main IDFA program. But despite these obstacles, success is certainly possible, and is not necessarily defined solely by sales. London-based Chinese author Xiaolu Guo's film The Concrete Revolution screened in the Silver Wolf Competition and was the most requested title at Docs for Sale. In spite of several screenings, most of the over 40 buyers who viewed it saw the film in the videotheque, according to Guo. More than 15 festival invitations resulted from IDFA, and Guo also recently signed with Parisian distributor Tele Images.

San Francisco's own Jay Rosenblatt, whose short film I Like It a Lot was the only American film competing for the Silver Wolf, was particularly impressed with the market's organization. Lists of buyers, festival programmers, and distributors with accreditation are made available in advance to participants. After IDFA, the Docs for Sale producers email all participants a list of those who viewed their film that includes contact details and viewers' comments. Rosenblatt, a veteran of several IDFAs whose Phantom Limb also screened out-of-competition this year, entered both films in Docs for Sale to interest buyers and festivals that are "off [his] radar." Programmers who didn't even attend IDFA have contacted him months later after reading the Docs for Sale catalog. For me, having a film in Docs for Sale granted an official presence and an IDFA badge, without which I would not have been taken as seriously by other attendees. As an unknown filmmaker, I too left with festival invitations, offers from distributors, and the goodwill of several buyers who would not otherwise have offered to view my work.

Of course, the battle is only partly won if decision-makers have agreed to view your film or asked you to contact them after the festival. As time is limited, research into slot requirements and the individual tastes of commissioners can be important so that you can focus your energies on approaching appropriate buyers. The European Documentary Network, a sponsor that helps organize the FORUM, publishes the EDN TV-Guide, which provides an excellent overview of European channels, documentary strands, and contact information for commissioners and buyers.

Most importantly, completed films should be presented to commissioning editors at running times as close to their slots' lengths as possible. If you are equally interested in festival screenings, you may want to have two lengths available at Docs for Sale, so long as they are clearly marked. After screening an 89-minute version of my film Sunny Intervals and Showers on the festival circuit, I sent it to several TV buyers who had requested it, which was a mistake. Had I sent a 50- or 60-minute version to editors who could then fill a comparable time slot with it, responses would have been more favorable from the start. Precious few slots exist for feature-length acquisitions in Europe, and these will be filled by films that have garnered widespread festival or theatrical success such as Control Room.

Practical advice aside, attendees are best served by socializing as much as possible with others in the industry who attend. More than 2,300 professionals were accredited this year, an increase of 20 percent over 2003's event. Every day, "Guests Meet Guests" happy hour takes place at de Balie, the festival centre directly across from the main cinema complex. Numerous semi-private functions complement the already saturated nightlife in Amsterdam. Navigating the city is also easiest if you rent a bicycle, the preferred mode of transportation for natives. That said, nearly all screenings and parties, the FORUM, and Docs for Sale are within half a square-mile, which creates a village-like atmosphere in the city's central Leidseplein area.

Attending IDFA is inspiring because of its high concentration of like-minded people, among both professionals and the general audience. Spending time with people who insist upon reinvigorating the documentary form was invigorating in itself. While the injustices depicted in many of the screened films often left me heartbroken, the warm receptions received by the films and the works' potential to bring change provide hope. In today's Amsterdam and today's world, IDFA makes me proud to be a member of the documentary community.

The 18th IDFA, scheduled for November 24 - December 4, 2005, has two submission deadlines: May 1, for films completed between September 1, 2004, and April 2005, and August 10 for those completed between April and the August 10, 2005. IDFA does favor premieres and insists that films in competition be at least "international premieres," which means they must not have screened outside their country of production. A primary change to the programming in 2005 will be the introduction of a separate section for short films, likely to be called the Silver Cub Competition. In recent years, short films have competed for the Silver Wolf in an eclectic section alongside others up to 60 minutes long. In 2004, IDFA screened about 10% of the more than 2000 films considered. Entry is free in all sections and full information can be found at www.idfa.nl.

The 13th FORUM will be held November 28-30, and applications for pitching need to be made by September 1. Specific requirements for submissions can be found on the website, chief of which is having 25-75 percent of the proposed budget secured from broadcasters upon application. To observe the pitch sessions only, application for slots is typically required in early October, as seating is limited and strictly monitored. The fee for accepted pitchers is currently set at 550 Euros, and an observer's pass costs roughly half that amount.

The 10th Docs for Sale runs from 25 November-December 3, and submissions need to be received by October 1. The accreditation deadline for TV buyers, distributors, and festival programmers is also in early October. Fees of 85-185 Euros were charged last year, but, according to Docs for Sale's producers, these may be revised for 2005.