The New Frontier of Documentary Financing: Key Takeaways from MIP London 2025
In a revealing panel discussion at MIP London, industry leaders shared insights into the evolving landscape of documentary financing and production. Hosted by the CEO of The Bridge Amanda Groom, the conversation highlighted significant shifts in funding models, audience engagement strategies, and IP rights management that every filmmaker should be aware of. Here’s what you need to know, as shared with us by Claudia Zenkert of Seetree GmbH, John Glencross of Calculus Media, and Victoria Fäh of IPR.VC Lab.
The Rise of Complex Co-Productions
Traditional co-production models are being revolutionised. Zenkert shared a striking example: “We actually worked with 11 contracting partners… across Sweden, Estonia and Germany… across three currencies.” This complex arrangement represents the new reality of international production financing, where multiple partners across different territories are becoming the norm rather than the exception.
Rethinking Content Development
A crucial shift is occurring in how content is conceptualised from the outset. Instead of developing single-format productions, successful producers are adopting an “idea-first” approach. As Zenkert explained: “Whenever the idea is brought to me, we are thinking like, okay, this is the idea. Where else can it go?”
She provided a concrete example: “Yes, it is a one-hour wildlife blue film that is also a science documentary with an amazing amount of synergies… and is also a dramatised kind of kids and family climate refugee story.” By thinking multidimensionally about content from the start, producers can access larger budgets and broader distribution opportunities.
Market Challenges and Solutions
John Glenroft, CEO of School Characters Capital, highlighted current market pressures: “It’s tougher out there, and I think the toughest part of the challenging market is in the documentary space.” He noted that while streamers have cut back, traditional broadcasters are also facing constraints: “The PSBs, the UK broadcasters are all cash track… they are trying to keep the costs down, they are squeezing the margins.”
Innovative Audience Engagement Strategies
One of the most practical insights came from Claudia’s description of their pre-release strategy: “We’re actually putting 95% of the show’s content online before it airs.” This approach, implemented six months prior to broadcast, includes:
- Creating “snippets” from the main content
- Utilising protagonist-generated content (vlogs, nesting box cameras)
- Securing hashtag priorities
- Collaborating with landscape designers and influencers
The Changing Nature of Quality Content
A fascinating revelation came about the evolving definition of “quality content.” Victoria from IPR.VC noted that quality is becoming “incredibly audience-defined.” She cited an unexpected example: “Movies such as Roblox movies… that are basically screen recordings of Roblox playing… with really interesting music and video on top of it… that is fantastic for a specific audience.”
Similarly, Zenkert challenged traditional assumptions about valuable content: “One of the most successful videos for YouTube was a two-hour unedited interview of two scientists talking.” This suggests that content previously considered B-roll or unsuitable for broadcast might find significant audiences on different platforms.
IP Rights and Industry Sustainability
A crucial discussion centred on IP rights management. The panel strongly advocated for producers to retain more control over their content. As Zenkert argued: “We have to start fighting back and be like, okay, if you want us to survive, we have to create different IP models where production companies and producers are allowed to retain the rights to their footage.”
She provided a concrete example of a more equitable approach: “You brought the idea to me… I’m getting you 33% with another company, we all share the IP in equal amount… This means it’s all their babies, so we’re allowed all of us to grow.”
The Role of Data
John emphasised the growing importance of data in pitching: “All the commissioners, certainly the streamers, are very keen on data.” He advised that producers need to be able to demonstrate “who it appeals to, who it builds in, which demographics.” This represents a significant shift from traditional pitching approaches focused solely on creative elements.
Key Takeaways for Filmmakers
- Consider multiple formats and platforms from the inception of your project
- Build community engagement strategies into your production timeline
- Rethink what constitutes valuable content for different platforms
- Push for retention of IP rights and consider new revenue-sharing models
- Incorporate data into your pitching strategy
- Look for synergies that can maximise budget efficiency
- Consider pre-release content strategies to build audience engagement
Looking Forward
The panel suggested that while the current market is challenging, it also presents opportunities for producers willing to adapt. The fragmentation of traditional models is creating space for new approaches to production, financing, and distribution. As Claudia concluded: “Finally the fragmentization and deranging of the existing models… allows us as production companies more freedom and a bit more strength to negotiate.”
For filmmakers, the key message is clear: success in today’s market requires thinking beyond traditional production and distribution models, while being prepared to engage with audiences in new and innovative ways.
Editor in Chief of Ikon London Magazine, journalist, film producer and founder of The DAFTA Film Awards (The DAFTAs).
