This study focuses on female filmmakers who entered the independent documentary film field in the late 2000s and explores their collective position and the meaning of their cultural practices. It examines the intersections between the specificity of the documentary field and the social condition of the daily experiences of female filmmakers from the point of production. In this study, in-depth interviews were conducted with female documentary filmmakers, and their collective experience was reconstructed based on the present point of view. First, the experience of entering the documentary field and the process of identity formation as experienced by the female filmmakers were examined. In addition, documentary productions that were commercialized and complicated according to structural changes were investigated. In addition, how certain conflicting relationships can form when gender elements are combined with the aesthetics and habitus of the hegemonic documentary field was explored. However, this conflict contributes to diversifying the documentary field as part of a symbolic struggle. The field of independent documentaries is at risk of intensifying competition and polarization due to the strengthening of economic logic. However, in the absence of a production system, it is also affected by the expansion of the upper level of the media field. Even in such a crisis, female filmmakers strive to keep their perspectives strong, but I tend to think that their position is not firmly established. However, female filmmakers in the documentary field are already influencing each other. Regardless of the style of the documentary, from the position of critical intellectuals, female filmmakers are contributing to the documentary filed by creating cultural practices that are perceived as those of ‘women’.