– The Slovakian producer explains why he believes in the ability of documentary filmmaking to cultivate attention, empathy and humanity
Tomáš Gič is a Slovak producer focusing on fiction films and documentaries. He holds Master’s degrees in Film Production from the Academy of Performing Arts and in Law from Comenius University. His short films have been screened at Cannes, DOK Leipzig, Riga, among other festivals. At the production company Silverart, he is finishing the feature film Flood by Martin Gonda and producing the documentary Glorious Utopia by Marek Moučka. He is an alumnus of IDFAcademy, MIDPOINT, and MFI. An interview with him, now selected for the 2026 Emerging Producers programme (read his EP profile here).
Why do you produce documentaries? Do you see documentary cinema as an instrument of social and political change?
Tomáš Gič: I produce both fiction and documentary films. While fiction allows us to imagine worlds, documentary confronts us with the one we inhabit, often revealing layers we tend to overlook or consciously avoid. I do not approach documentary film primarily as a tool for direct activism. Instead, I believe in its ability to cultivate attention, empathy, and humanity. For me, the power of documentary lies in creating space for reflection rather than delivering clear answers. By observing real people, systems, contradictions and formal sensitivity, documentary cinema can gently destabilise fixed viewpoints and open up new ways of seeing the world. In that sense, any social or political change it may provoke is subtle, long-term, and rooted in individual experience rather than immediate reaction.
How do you achieve and maintain work-life balance and foster overall well-being?
My work is also my passion, which makes it difficult to strictly separate “work” from “life” and to achieve balance. At the same time, I am increasingly aware of the risks of overworking. Maintaining well-being therefore means learning to listen to my body and mind, recognising limits, and consciously creating space for rest. This includes slowing down when possible, spending time outside the professional environment, and allowing moments of distance from my film projects.
Where do you find audiences for your films?
Given the nature of the films I focus on, festivals remain a crucial space for meeting audiences. Film festivals allow works to be contextualised, discussed, and shared with viewers who are open to more demanding cinematic forms. At the same time, theatrical distribution remains a clear priority. Despite changing viewing habits and the decline in cinema attendance, I strongly believe in the collective experience of watching a film in a cinema. Bringing films to the big screen – even on a smaller scale – continues to be central to my distribution strategy, and something I actively pursue despite the challenges.
What projects do you have underway (including fiction films and other projects)?
We are currently in distribution with the fiction feature Flood, a historical drama focusing on the relocation of Ruthenian communities caused by the construction of the Starina water reservoir. The film premiered at the Mar del Plata Film Festival, where it received the SIGNIS Award for Best Feature Film. It has so far reached over 20,000 admissions in Slovak cinemas, and we are currently preparing its theatrical release in Poland and Belgium.
In parallel, I am producing the documentary Glorious Utopia, which observes the citizens and kings of the unofficial microstate Elgaland-Vargaland, founded in 1992. The film explores questions of identity, power, and imagination through a poetic, essayistic approach, situated between reality and symbolic gesture.
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EMERGING PRODUCERS is a leading promotional and educational project, which brings together talented European documentary film producers. The programme is organised and curated by the Ji.hlava International Documentary Film Festival.
Deadline for applications to the EMERGING PRODUCERS 2027 edition is 31st March 2026.
