smartsupp('language','en');
Interviews

Serra Civil: "Our driving force is simple: care for the people behind important stories, not just the stories themselves."

02 June 2025

Today, DOCU/PRO is the largest professional platform for non-fiction filmmakers in Ukraine. Various educational and film production projects occur within its framework, showcases are held, and networking events for documentary filmmakers are organised. This year, holders of industry accreditation can expect an intense program of events and a separate day dedicated to improving mental health in the film industry.

Serra Civil, an expert in the trauma-informed approach in filmmaking, will be a guest of DOCU/PRO and will conduct an open online seminar. On the eve of the festival, film curator Olga Birzul spoke with Serra about sensitivity in the documentary industry.


Serra, what sparked the idea of organising training sessions on mental health and a trauma-informed approach for documentary filmmakers? What was the driving force behind creating such a project?

I'm part of Film in Mind, a collective of mental health practitioners working to support mental well-being in the documentary world. We all come from the film industry ourselves — before becoming therapists and coaches, we worked in different parts of the film industry, so we have firsthand experience of how little mental health support there often is. The idea for these trainings came from seeing a fundamental gap: documentary makers are diving into some of the world's most complex and urgent issues — war, injustice, displacement — but they're often left entirely on their own to handle the emotional and ethical burden. We wanted to create something that not only gives filmmakers tools to navigate trauma responsibly but also acknowledges how deeply this work impacts them, their teams, their contributors, and their audiences. Our driving force is simple: care for the people behind essential stories, not just the stories themselves.


Documentary filmmakers may believe the camera shields them from the harsh realities they capture, creating a sense of distance. Yet, this is a dangerous illusion, and they frequently overlook their need for self-protection. Why has the conversation around mental health in the film industry taken so long to emerge?

That is such a good question. I think part of the answer is the stigma around mental health: we're taught to see emotional struggles as personal failings instead of signs of systemic problems. In the documentary world, filmmakers also feel a tremendous urgency to focus on the story and its impact, often at the expense of their well-being. And, of course, the economic precarity of documentary work makes it even harder for filmmakers to prioritise their mental health. Systemic change is needed across the whole industry — from broadcasters and commissioners to festivals — so that care for the world includes care for the people creating these films.



Lecture and Practical Workshop on Mental Health Support for Filmmakers as Part of DOCU/PRO Events.


The Russian-Ukrainian war is now the most documented. In our urgency to expose Russian war crimes, we sometimes overlook sensitivity towards each other. A significant discussion in Ukraine concerns the ethics of documentary filmmakers filming during the most tragic moments of their subjects' lives. What key principles of trauma-informed communication should these filmmakers prioritise when interacting with individuals who have experienced war trauma?

When you're filming people who've lived through trauma, it's about making sure they feel safe while telling their story. That means being careful not to push them into moments too painful to revisit and letting them set the pace and boundaries of what they want to share. It's also about getting real, informed consent — not just once, but throughout the whole process — and making sure they feel in control of their story, not like it's being taken from them. Staying tuned into their emotions, being humble about what we don't know, and constantly asking ourselves whether the way we tell these stories could cause more harm. These ideas aren't just ethical guidelines; they shape how deeply people trust us and how we honour their experiences. In my presentation, I'd love to dive deeper into these ideas.

 

Drawing on your experience as a psychotherapist, I'm compelled to ask about retraumatisation. Given the prolonged stress experienced by Ukrainian society, many are hesitant to watch documentaries they perceive as psychologically challenging. What recommendations do you have for inspiring people to engage with challenging films?

Yes, it's crucial to meet audiences where they are emotionally. Prolonged exposure to trauma, like what Ukrainians are living through, naturally creates a need for psychological self-protection — sometimes avoiding difficult material isn't denial; it's an act of survival. So, a respectful invitation and, of course, open, informed consent are key. This could mean offering viewers some emotional "signposts" — honest but compassionate framing before and after the film, giving them space to prepare and to process what they've seen. It could also mean creating opportunities for reflection, discussion, and support after screenings rather than leaving people alone with heavy emotions. Readiness unfolds at its own pace, and when people can trust that a filmmaker or a festival cares about the story and their inner world as viewers, they are much more willing to step toward brutal truths.

Photo: provided by Serra Civil

The 22nd Docudays UA is held with the financial support of the European Union, the Embassy of Sweden in Ukraine, International Renaissance Foundation. The opinions, conclusions, or recommendations do not necessarily reflect the views of the European Union, the governments, or organisations of these countries. Responsibility for the content of the publication lies exclusively with the authors and editors of the publication.
22 INTERNATIONAL HUMAN RIGHTS DOCUMENTARY FILM FESTIVAL
 6 — 13 
June 2025
Watch online on DOCUSPACE during the 22nd Docudays UA
Programme Review
03 June 2025
Watch online on DOCUSPACE during the 22nd Docudays UA
Programme Review
03 June 2025
Where Shadows Gleam — Chilean Cinema as Poetic Resistance
Programme Review
01 June 2025
Where Shadows Gleam — Chilean Cinema as Poetic Resistance
Programme Review
01 June 2025
Accessible Program at Docudays UA: Subtitles, Audio Description, and …
News
30 May 2025
Accessible Program at Docudays UA: Subtitles, Audio Description, and Sign Language
News
30 May 2025
Between human rights protection and documentary: the non-competition …
Programme Review
30 May 2025
Between human rights protection and documentary: the non-competition programme UKRAINE WAR ARCHIVE/EVIDENCE at 22 Docudays UA
Programme Review
30 May 2025
“Rare Resource”: Docudays NGO Launches a Communication Campaign to Pr…
News
29 May 2025
“Rare Resource”: Docudays NGO Launches a Communication Campaign to Promote Participatory Democracy in Ukraine
News
29 May 2025
The Films Nominated for 'RIGHTS NOW!' Award-2025
News
29 May 2025
The Films Nominated for 'RIGHTS NOW!' Award-2025
News
29 May 2025
Happiness as the Rarest Resource: The Opening and Closing Films of th…
Programme Review
28 May 2025
Happiness as the Rarest Resource: The Opening and Closing Films of the 22nd Docudays UA
Programme Review
28 May 2025
DOCU/WORLD: Films about the triumph of good
Programme Review
28 May 2025
DOCU/WORLD: Films about the triumph of good
Programme Review
28 May 2025