More than €110,000 ($127,000) total in awards were handed out in Copenhagen this evening as another edition of CPH:DOX’s industry arm came to an end. The Laura Poitras executive-produced doc “Everything Is Red and Grey,” directed by Shourideh C. Molavi and Shrouq Alaila, took home both the Al Jazeera Documentary Channel Co-production Award and the Arte Award, while further winners included new projects by festival favorites such as “Nothing Compares” director Kathryn Ferguson and “De Humani Corporis Fabrica” helmer Véréna Paravel. “Everything Is Red and Grey” is set to follow a group of young Palestinian filmmakers in Gaza who overcome the tragic killing of their friend. Ferguson’s “Matrescence” is adapted from the eponymous book by Lucy Jones and is described as a “genre-defying, cinematic documentary” exploring the transformations that occur in pregnancy and early motherhood, while Paravel’s “Cosmofonia” features a soundtrack composed almost entirely of “sounds never heard before by human ears.” Popular on Variety Further winners include films such as Halyna Lavrinets’s “My School Is Seized,” about an 18-year-old who escapes Russian occupation and exposes a school system designed to groom children for war; Łukasz Kowalski’s “My Father the Iceman,” about the documentarian’s journey confronting his farther after he joins the Polish far-right movement; and the new project by “The Mother of All Lies” director Asmae El Moudir, “Don’t Let the Sun Go Up on Me,” about Morocco’s “children of the moon.” You can find a full list of winners below. ‘The Mother of All Lies’ Marrakech Film Festival CPH:INDUSTRY temperature check: AI and journalism in focus This year’s edition of CPH:INDUSTRY was marked by in-depth conversations on a wide range of themes, but two have stood out as points of great concern for the industry: the threats and opportunities of artificial intelligence and how documentary can learn from the crumbling of modern journalism. In her opening remarks at this year’s edition of CPH:SUMMIT, Doc Society co-director Beadie Finzi alerted her colleagues: “We will not be ready for what comes next if we don’t look up and look ahead.” Both CPH:SUMMIT and CPH:CONFERENCE programs have gone against the grain in promoting questioning instead of searching for straight answers to the great existential issues plaguing the documentary form in 2026. Amongst the busy corridors of the imposing industry home of the Kunsthal Charlottenborg museum, attendees were heard praising the festival’s handling of AI in particular. In populating AI-themed panels with a varied selection of experts — including policy makers and high-profile managers — and framing it through more lyrical-leaning concepts of truth and agency, CPH:INDUSTRY found a nifty way around AI fatigue plaguing such festival forums while still tackling the subject head-on. Speaking of AI, the conversations on the ground have eschewed the cataclysmic perception around new technologies, but still offered some precious and useful insights into the dangers of a technocratic future. BBC research and development expert Bill Thompson pointed out how we “have become complicit in the activities of organizations who do not have our best interests at heart,” and that “the technologies that we thought could help us turned out to be designed in ways that could never deliver what we wanted from them.” One of the burning questions was, of course, how artificially generated videos and images might affect the public trust in documentaries or even the idea of truth itself. Former Sundance Film Festival director and recently crowned Film Forum head Tabitha Jackson gave a poignant opening speech to her session on truth, asking: “If seeing is no longer believing, how do audiences decide what is real? What happens to precision, verification, and public service values in the post-truth world? And how should documentary rethink its relevance, ethics and craft in an AI-augmented media ecosystem?” Industry sessions at the festival largely prodded at this very media ecosystem, especially journalism. While fiction filmmaking has often tried to predict upcoming trends by looking at television and online content, documentary can find much more significant synergy with its cousin in reportage. Throughout the festival, experts have spoken about the effect of conglomeration and amalgamation of power by a few uber-wealthy figureheads, and how grassroots movements in journalism can inspire documentarians to survive in the near future. “Journalism has always been part of the DNA of the festival,” CPH:DOX head of industry and training Mara Gourd-Mercado told Variety. “We understand there is a huge difference between reportage and documentary, but they feed into each other. It was very natural for us to kind of turn towards journalism and what happened to it to think of solutions for how to reshape our industry.” “Hell’s Army” director Richard Rowley was one of several journalists-slash-documentarians presenting new investigative films at the festival. Asked about how the state of journalism influenced his work, the filmmaker warned that the rise of totalitarianism and authoritarianism has led to a world where “rules and guardrails have been stripped away.” “The attacks and the destruction of journalism are part and parcel of this entire kind of devolution of the world we’ve lived in.” There is hope, however. Former The Observer writer and co-founder of The Nerve, Carole Cadwalladr, told attendees at the festival that unique clicks to her journalist-owned media platform now rival — and even surpass — the traditional outlets she formerly worked for. “Nobody is coming to save us,” she said. “We have to build our own life-rafts here. If you build it, they will come. People want to understand what the fuck is going on in this world at the moment.” ‘Hell’s Army’ Courtesy of Evergreen Productions Full list of CPH:INDUSTRY winners: Sandbox Films Science Pitch Prize, presented by Sandbox Film “Matrescence,” by Kathryn Ferguson, produced by Rosie Crerar and Elanor Emptage Millennium Docs Against Gravity Award “My School Is Seized,” by Halyna Lavrinets, produced by Oleksandr Ivanov Rise and Shine Award “My Father the Iceman,” by director/producer Łukasz Kowalski, produced by Anna Mazerant Unifrance Doc Award “Children of the Moon Land,” director Roman Duris, producer Richard Simecek Jacob Burns Film Center Award “The Calling,” director Beniamino Barrese, producer Harry Vaugh The Eurimages New Lab Outreach Award “Don’t Let the Sun Go Up On Me,” by Asmae El Moudir, produced by Emma Lepers The Eurimages New Lab Innovation Award “Cosmofonia,” by Véréna Paravel, produced by Florence Cohen The Al Jazeera Documentary Channel Co-production Award “Everything Is Red and Grey,” by Shourideh C. Molavi and Shrouq Alaila The ARTE Award “Everything Is Red and Grey,” by Shourideh C. Molavi and Shrouq Alaila and “We Are Volcanoes,” by Sharon Yeung and Natalie Chao The Jacob Burns Film Center Award “The Calling,” by Beniamino Barrese The Unifrance & Titrafilm Doc Award “Children of the Moonland,” by Roman Ďuriš The Onassis ONX Award 2026 “Still Point, Turning World,” by lead artist Ben Joseph Andrews, produced by Emma Roberts The NewImages Festival Award “Mourning Glory,” by Mathius Scibor (Au Matt), produced by Pepe Le Puke The DOK Leipzig Award “Mourning Glory,” by Mathius Scibor (Au Matt), produced by Pepe Le Puke