At a mere nine years old, the Toronto Documentary Forum has an impressive track record and a hot lineup of participants once again.

‘It’s exciting to look forward at the people who’ll be coming to this year’s forum, while also looking back at the success stories from past editions,’ says Michaelle McLean, director of TDF, Hot Docs’ flagship market event, running April 23-24.

Among the recent TDF success stories are Oliver Hodge’s Garbage Warrior, Yung Chang’s Up the Yangtze and Peter Raymont’s A Promise to the Dead: The Exile Journey of Ariel Dorfman, all of which were pitched to the international doc community and have gone on to enjoy solid audience and critical reception.

Such successes have created a higher profile for TDF, which in turn translates into more pressure for event organizers.

More than 500 delegates are expected to attend this TDF, up dramatically from even a few years ago, when crowds of producers, directors and broadcasters usually ran at about 250.

‘We have [also] noted the increase in projects that are submitted,’ adds McLean, citing this year’s 231 applications, up from last year’s 183.

McLean notes that the biggest shift this year was in terms of coproductions. Many doc projects had foreign broadcasters lined up, but none yet on their native turf.

One example is Sins of My Father, produced by Britain’s Renegade Pictures, and which has Germany’s ARTE lined up, but no U.K. broadcaster at press time.

‘Producers are travelling more – there’s no two ways about it,’ says McLean. ‘It’s events like the forum that mean that people are doing a great deal more networking internationally, and this is part of the result.’

This year’s lineup at the TDF includes To Bee Or Not To Bee (France), produced by Telefrance and Montreal’s Galafilm Productions, about the rapidly diminishing bee population. Other contenders include Nuclear Alert (France), a Play Film production about atomic power; Space Race II (Canada), DLI Productions/Instinct Films’ examination of the militarization of space; Taqwacore (Canada), EyeSteelFilm’s look at Islamic punk subculture; and Peter Raymont’s Glenn Gould: A Secret Life (Canada), from White Pine Pictures.

McLean has also observed that doc budgets are on the rise. ‘That does surprise me, given how tough things are, and with all the cable channels, which have created more choice for the consumer, but also put the pressure on for people to do more with less,’ she offers. ‘While advertising dollars are diluted, though, the channels are in a bigger fight for eyeballs. And that means there’s also a demand for a quality product to put on.’

McLean says another bit of evolution comes from those making the pitches themselves.

‘People used to sit there and read from their notes, never looking up. Not any more. People realize that the presentation is key, that this is a big opportunity. They are more animated, confident, and have learned to deal with their stage fright.’

Also, TDF will play on-the-spot matchmaker. When a producer or broadcaster wants to set up a meeting with another player in attendance, event organizers will facilitate it. And there will also be speed dating, in which 15-minute private pitch sessions will be organized by the TDF.

Also taking place during Hot Docs is Doc Agora Ontario, which features pitch sessions and discussions aimed at raising awareness about the impact digital media is having on the documentary form.

A complete list of projects and guests at the TDF can be found at www.hotdocs.ca.