In 2025, in 2025, in 2025: DOX, the extreme political tension in the United States and the parts of Europe poured an uncertainty cloud on the Copenhagen-based documentary film festival.
Non-fiction films that expose the truth and the problem of the problem are more important than ever, despite the distribution of the United States in the United States, especially in the United States, it is a “no other land” without $ 1 million.
Past Sundance Institute CEO Keri Putnam believes that Americans are eager to see more political fare as “other lands” that are not available in the main flow services.
“I really believe that the spectators are fed, algorithmic, mass market content, seggas, results,” DOX peak panel said: DOX PLACE:
As a companion in the center of the center of Harvard’s Kennedy School, Putnam, published a report entitled “Independent Film Audience and Landscape” last year. The comprehensive study examined the existing independent film view and found an unused market for an independent film.
“The audience wants something original,” said Putnam. “The audience really wants to watch something that deals with the world of the world. I hope the directors will have enough audience I can pay and activate marketing.”
Oscar-candidate’s manufacturer has two documents in Fichman – “Everest Dark” and “Living, My Donkey!” – in CPH: DOX. Both movies are looking for distributions.
“It’s really hard for all documentaries” said FiChman. “There is no question where a scary environment is.”
A Canadian manufacturer Fichman said that the current market is the key to international coping.
“There are money in the states, but not enough to finance a whole movie,” Fichman said Diversity. “I really appreciate the places I speak in the United States, and when I came to the table, and by the way, I bring to this area and bring a few tax credits from here. “
Misfits, Lizzie Gillett, “Super / Adeve: Christopher Reeve”, “Merkel” and “Destroyed Children”, “Destroyed Children”, About Climate Refugees in American Southern American Southern American Southern American Refugees.
“People understand to maintain all rights by preparing a whole film and then hoping for a really great sale from a festival, now” said Gillett. “People accept that money in hand is more value than a large global Svod sale.”
Gillett asked a document that is currently produced as an example called Jaripeo.
“The film team has three-quarters of the budget in places that are mainly for sale before sale,” Gillett said. “Of course, they can reject a large Netflix sales, but they are better and more pragglist and the film is good for them to have different broadcasters. Thus, people are developing their money. Only more flexible and hustle.”
Together, the founder of the founder of Sarah Mosses and the CEO of Sarah and Gillett works on “Ovili children”. “Every film, but especially political films, must have a plan, plan a plan, a plan, plan B.
Dogwoof’s General Content Officer, Oli Harbottle, defended the distribution roads in today’s market were very important.
“Many industrial documentaries spoil the boom.” “When the streams came, it was time time and it was back. But (DogwoOf) was born in our territories and a good model for 20 years.”
In January, Dogwoof, Ukrainian director and Pulivera and 2000 meters of Andriva’s 2000 meters for 2000 meters “2000 meters” in the best documentary of Andrivza, the 2000-meter andrivka of Mariivka. DOX is the production of frontage.
“The American, especially more political content, seems to be in a difficult place, but old-built models are still in place and can be tired,” Harbottle said. “There are also new (distribution) models like the road.”
The owner of a film that could be successful in festivals in the world, but did not have a traditional distribution, but influential partners – the same team, which is one of the largest investment portfoliots in the independent non-artistic sector, was imagined by the same team.
In March 2024, a direct consumer film distribution platform and the latest “Bibi files”, Benjamin Netanyahu demonstrated a documentary. The film managed by Alexis Bloom and Alex Gibney is currently choosing in CPH: DOX.
Geralyn Dreyev, Jolt co-founder and the General Film officer, Netflix of the platform, and the “very interesting conversation” with the tour of the former CEO, said he was partially imagined.
“Reed said the Netflix business model would be very difficult to get more than 20% of the independent cinema and something that something sees”. ” “His dispute said that our audience is very small and that the business model has made our audience, and someone has to work on the development of spectators. I said, ‘Well, how small?’ And he said, ‘Two million’. He said, “What’s the breast”. “That’s why our movies are seen by 200,000 people in a platform in more than 190 countries, but have a job in more than 190 countries.” How do we have a job from 200,000. “But how do we build this?”
The result was a leap without a purchasing company. Instead of paying the filmmaker, Jolt gives a platform on a platform on a platform in a platform in a platform in a specific festival or festivals, and gives a platform on a platform on a platform to continue to discuss a distribution sales.
“We are still in an early stage,” said drapous. “It has never been easier, but we learn a lot.”
