Within the framework of IDFA, one of the questions that resonated most strongly was whether filmmakers can truly make a living from their craft—an issue that stood at the center of the session Where Are My Fees?, moderated by filmmaker Jordi Wijnalda. Joined by Ukrainian producer Darya Bassel and Belgian director-producer Kristof Bilsen, the discussion delved into the working conditions that dominate European cinema, especially documentary filmmaking, where precarity seems to have been entrenched for years. Wijnalda opened the conversation by asking attendees to raise their hands if they could sustain themselves solely through filmmaking—a simple gesture that already revealed a discouraging picture. He then reviewed figures from a 2019 report showing that a large proportion of European creators live with financial insecurity and rarely have room to negotiate their contracts. Although the data is several years old, the moderator argued that the current reality has not improved and, in some areas, has even become more complex—particularly when coproductions involve power imbalances.

Bassel revisited that concern through her own trajectory, shaped by the need to combine film production with festival programming and management—an equilibrium many professionals must pursue in order not to leave the industry altogether. She emphasized that transparency is one of the most effective tools for avoiding tension between directors and producers, especially when working with new teams or with filmmakers making their first feature. She explained that her company has adopted the practice of reviewing the budget with the director during the early development stages, which helps dispel doubts and build trust before misunderstandings arise. In places like Ukraine, where a certain mistrust toward producers persists due to decades of deficient institutional funding and the legacy of other systems, such clarity is essential for creating an environment where economic and creative decisions can be discussed on more equal footing.

Belgian filmmaker Bilsen agreed that talking about contracts, percentages, and obligations is often uncomfortable but also unavoidable if the sector is to become fairer and more professional. He recounted that in his first film he himself postponed signing a contract until very late in the process—something he later understood as a mistake rooted in deeply ingrained dynamics: the notion that producers “make things happen” while directors “provide the vision,” as if both roles were not part of the same creative and administrative process. He advocated for dismantling this binary, assuming shared responsibilities, and maintaining an ongoing dialogue that goes beyond formalities. At the close of the session, both he and Wijnalda stressed that the industry could be strengthened if there were greater openness regarding budgets, percentages, and remuneration criteria. It’s not about disclosing exact figures, they agreed, but about fostering conversations that help everyone better value their own work and that of others—ultimately contributing to a more cohesive community in the face of the economic challenges it confronts.