How IDFA curates its youth film selection together with educators

The youth education program is not built on artistic merit alone. To shape a selection that is both compelling and meaningful, IDFA collaborates closely with teachers from primary, secondary, and vocational education. Earlier this spring, educators gathered at Het Documentaire Paviljoen for one of the preview screening nights, where they reviewed and reflected on a longlist of potential titles.

But it doesn’t stop there. In test screenings held throughout the Amsterdam region, hundreds of students also shared their thoughts. This dual perspective—from the classroom and the cinema—helps IDFA curate a program that connects with the lived experience of young people while tying into broader educational themes, including Citizenship and Cultural & Artistic Education.

For years, IDFA has invited teachers to play an active role in the youth film selection process. Their input is especially crucial when it comes to the so-called “borderline cases”—films that may include intense or potentially triggering scenes, rely heavily on dialogue and subtitles (which can be challenging for younger viewers), or spark debate within the curation team itself. The strength of the process lies precisely in bringing together a wide range of perspectives.

“We ask educators to evaluate films through the lens of their day-to-day teaching practice,” explains Marije Veenstra, Head of Education at IDFA. “That gives us valuable insight into what students are thinking about—and what they can handle.”

During one preview session, a teacher from a vocational school shared a striking example: “Many of our students have a background as refugees. When we talk about migration and polarization, we need to build the conversation carefully. This film [in which refugees are violently attacked by far-right extremists, ed.] would simply be too confrontational for them.” Such reflections help IDFA assess a film not only on content but also on its suitability for different educational contexts.

Students themselves also play a key role. In test screenings, they rate the films and explain their reasoning—often offering unexpected insights. “We’ve seen many cases where a group starts off unsure about a film but ends up discovering, through discussion, that it actually resonated with them more than they thought,” says Veenstra. “They surprise us—and themselves—with the depth of their analysis.”

Sometimes, students pick up on themes the education team hadn’t initially considered. These interpretations inform the development of teaching materials and discussion guides. A film students describe as being about “coming out,” for instance, may also open up conversations about family dynamics, cultural expectations, or discrimination.

While student and teacher input plays a vital role in shaping IDFA’s youth film selection, it isn’t the final word. The aim is not only to speak to what young people already know or understand—but also to gently push them beyond their usual frame of reference. “Our approach is inspired by the work of Russian psychologist Lev Vygotsky,” explains Marije Veenstra, Head of Education at IDFA. “He introduced the concept of the ‘zone of proximal development’—that space just beyond what someone can grasp on their own, but where real learning happens with the right support.”

With this in mind, IDFA seeks out films that students may not gravitate toward on their own—works that challenge and provoke, while remaining accessible with the right guidance. Through carefully developed lesson materials, thoughtful introductions, and moderated discussions after the screening, these films often resonate deeply and leave a lasting impression.

The goal is always to strike a balance: between the familiar and the unfamiliar, between accessibility and artistic or thematic complexity. This balance is reflected not only in the subject matter but also in the form and style of the selected films.

One example is My Homeland, a short animated film included in this year’s high school and vocational school program. It tells the story of a young couple fleeing a totalitarian regime, battling violent robots to secure a future for their child. Director Tabarak Allah Abbas recasts the refugee experience not in terms of victimhood, but of heroism—drawing on the popular anime style to connect with younger audiences.

The familiar form lowers the threshold for engagement, encouraging students to open up during post-screening discussions—where the deeper meanings of the story often begin to take shape.

Young people are in constant development—and IDFA’s education program evolves alongside them. “Some of the films we considered suitable for first-year high school students five years ago wouldn’t make the cut today,” says Marije Veenstra, Head of Education at IDFA. “Not because students have outgrown them, but because the world has changed.”

Shaped by national and global crises, today’s youth often experience reality with heightened intensity. They are more outspoken, think more critically about social divisions, and engage more deeply with issues of justice and identity. At the same time, they don’t always feel safe enough to voice their thoughts.

This shift calls for increased sensitivity—both in how films are selected and in how conversations are facilitated afterward. That’s why IDFA works in close dialogue with teachers and students to continually fine-tune the program, ensuring it continues to both challenge and support young viewers.

---

IDFA School Program

Each year during the festival, IDFA hosts special school screenings on weekday mornings at cinemas across Amsterdam—and in satellite venues throughout the Netherlands. The program draws around ten thousand students annually, from primary schools to secondary and vocational education. Explore the full film selection for primary, secondary, and vocational education, and register your class by September 21.

IDFA’s education program is made possible with support from Fonds 21, Brook Foundation, Deloitte Impact Foundation, and IDFA Dikke Vrienden+.