Sundance Programmers Say Political Documentaries Are Still Crucial, Despite Challenging Market and Right-Wing Hits

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It’s clear now that streaming services such as Netflix, Amazon, and Apple have shown less interest in airing documentaries focusing on current political events. The days when these platforms invested millions for documentaries featuring controversial figures like Alexandria Ocasio-Cortez (“Knock Down the House”) or mock government teen conferences (“Boys State”), following their debuts at Sundance, are long gone. Streamers seem to imply that this type of non-fiction doesn’t draw a large enough audience and fails to generate new subscriptions. Instead, it appears that documentaries about celebrities, cults, or true crime are what algorithms suggest the majority of their documentary viewers prefer.

However, the creators of Sundance programs don’t emphasize commercial viability in their selections. Instead, with the tense political atmosphere and the escalation of right-wing documentaries, as well as streaming platforms favoring crowd-pleasing content, it’s up to festivals to showcase daring films that could potentially earn accolades in the future.

The Sundance programmers aren’t focusing on commercial success when they make their choices. In a time of political turmoil and an increase in right-wing documentaries, along with streaming companies favoring popular content, it becomes the role of festivals to present innovative films that could garner recognition and awards later on.

Basil Tsiokos, Sundance’s senior programmer, acknowledges that certain distributors might be hesitant about handling films with strong political themes, and audiences sometimes prefer lighter content. He understands this completely. However, he also emphasizes the dedication of filmmakers who invest significant portions of their lives in telling stories about conflict zones, war, and global tragedies. His mission is to offer a venue where such challenging narratives can be shared.

As a cinephile, I didn’t hesitate to curate documentaries this year that delve into political landscapes. From “Mr. Nobody Against Putin” and “Cutting Through Rocks” in Russia and Iran respectively, to “Heightened Scrutiny” in America and “Khartoum” about the Sudan, I’ve been on a journey exploring diverse political terrains through film.

As a movie enthusiast, I can’t guarantee that every film in this year’s selection, particularly the heavier, more thought-provoking ones, will make their way to the multiplexes. However, uncertainty has always been part of the game. It’s crucial for films like ‘Khartoum’, which sheds light on Sudan, a topic often overlooked, to receive support from festivals such as Sundance. After all, these stories matter, and I wouldn’t want to deny them distribution or programming just because I doubt their wider reach. Instead, the goal is to share these stories with an audience, and if that audience happens to be at Sundance this year, so be it. Who knows? Perhaps these stories will resonate beyond the festival circuit. But for now, it’s comforting to know they are reaching someone.

17 out of the 23 films that arrived at Sundance last year managed to secure distribution. The majority of these, however, were self-distributed or distributed through service deals that required filmmakers to pay upfront costs. For instance, “Eno” was self-distributed, while “War Game” had an arrangement with Submarine Deluxe and the Oscar-nominated “Porcelain Flowers” was distributed by Picturehouse.

Or, in a more conversational tone:

Last year at Sundance, 17 out of 23 movies found distribution deals. But here’s the catch – most of them were either self-distributed or had to pay for distribution through service agreements. For example, “Eno” was self-distributed, and “War Game” and the Oscar-nominated “Porcelain War” were distributed by Submarine Deluxe and Picturehouse respectively.

Significantly, in the previous year, Netflix acquired six documentaries, such as “Daughters,” “Ibelin,” and “Will & Harper.” Meanwhile, Warner Bros. Discovery spent $15 million on “Super/Man,” a documentary chronicling the life of Christopher Reeve. These purchases brought some optimism to an otherwise struggling documentary market.

Film representative Josh Braun from Submarine Entertainment will attend the Sundance Festival, bringing along eight documentaries he hopes to distribute. Some of these are “The Stringer,” “Middletown,” and “Andre Is an Idiot.

Braun expresses his confidence in the high caliber of our films, wondering aloud why anyone wouldn’t want to purchase them. He acknowledges that some sectors of the market might differ, but ultimately, buyers and distributors require content. Even amidst difficult times, he believes we remain an essential component. He’s optimistic that Sundance will serve as a hub for stockpiling this year.

Braun is additionally featuring Ryan White’s “Come See Me in the Good Light,” a movie about the emotional odyssey of two poets dealing with love, life, and cancer. For White, who has previously premiered three documentaries at Sundance, this will mark his initial attempt to secure distribution in Park City. The filmmaker expressed that it wouldn’t be logical to pursue a deal for “Come See Me in the Good Light” prior to Sundance.

According to White, this movie requires viewing for a complete understanding, as it’s not the kind that traditional streaming platforms would readily finance.

White is cautiously optimistic the docu will find distribution.

He explains that he doesn’t have overly high hopes for the film’s success, not because he lacks desire for it to be a commercial hit, but rather due to his background within the documentary community. He acknowledges that the current marketplace is challenging. Therefore, he’s keeping his expectations in check, but remains optimistic that when distributors see the movie in theaters, they will understand its potential and how relevant it is.

To date, only one independent documentary from Sundance – “One to One: John & Yoko” by Kevin Macdonald – has been purchased. Magnolia obtained the North American distribution rights, whereas Max secured the streaming rights.

At Sundance 2025, various broadcasters such as Max, Apple TV+, and Hulu have documentaries on their lineup, but Netflix is absent. Some industry insiders believe that this decision to exclude any Netflix Original documentaries from the festival was a strategic blunder, potentially impacting the funding for documentaries they produce with an aim for the festival circuit in mind.

Nevertheless, Eugene Hernandez, director of Sundance, firmly believes that the festival provides opportunities equally for all.

Herandez remarks, “Netflix stands out as a top choice for documentaries, without a doubt,” he states. “They’ve backed Sundance, the community, and the event, which we appreciate and acknowledge. We’re thrilled to present this collection to them. Additionally, I should note that Sundance is all about discovery. It provides room for new findings. This aligns with the very essence of our organization’s mission.

Braun stated that Sundance doesn’t necessarily consider whether a film comes from a streaming service or not. Given the limited number of slots this year and fewer open theaters, they didn’t invite many outstanding films. He also suggested that it might be beneficial for the industry if most of the available slots were taken by films looking for distribution, as this would support the ongoing viability and prosperity of Sundance.

As a passionate cinephile, I wholeheartedly agree with Tsiokos’ assertion that every voice should be heard and represented at Sundance. Regardless of distribution status, it’s crucial that everyone feels they have a place in this esteemed film festival.

In the world of theater distribution, documentaries with traditional, conservative views are generating profits, yet these tend not to get chosen for events such as Sundance.

In 2024, Matt Walsh’s controversial film “Am I Racist?” – a movie that criticizes diversity, equity, and inclusion initiatives from a right-wing perspective – was the highest-earning documentary of the year, raking in an impressive $12 million at the box office. Morgan Neville’s “Piece By Piece” followed closely behind with over $9 million, but the rest of the top ten grossing documentaries this year were dominated by conservative and faith-based films such as “Vindicating Trump” and “In Jesus Thirsts: The Miracle of the Eucharist.

Tsiokos asserts that the programmers of Sundance focus on high-quality films and avoid political bias. He cites documentaries like “Mitt,” “Reagan,” and “The World According to Dick Cheney,” which were shown at past Sundance festivals, as examples. This year, the five-part docuseries “Bucks County, USA” by Barry Levinson and Robert May, which explores the conflicting political views of friends, is expected to generate discussions among the Sundance audience.

However, Amazon’s recent investment of $40 million in a Brett Ratner documentary featuring Melania Trump might potentially jeopardize the longevity of documentaries with progressive leanings on these corporate streaming platforms.

A documentary producer, preferring to remain anonymous, expressed disgust and shock over a move they believe is an obvious attempt to win favor with the Trump administration and a canceled filmmaker, saying there isn’t anyone in their circle who isn’t appalled by this action.

Despite uncertainty about documentary sales at Sundance, industry experts believe that the existing market for independent documentaries, which relies heavily on self-distribution or service deals, is no longer viable in its current form.

Braun points out that every movie begins as a piece of art, yet it’s also a business venture. He emphasizes that these three elements – business, art, and commerce – are interconnected. If obstacles persist in widening the distribution of more films, it may lead to philanthropy and temporary solutions. However, he believes that at some point, the market will change, although perhaps not as drastically as some hope. He’s optimistic that this shift will occur.

This year at Park City, R.J. Cutler will bestow the Vanguard Award upon “Sugarcane” collaborators Julian Brave NoiseCat and Emily Kassie, and he shares their optimism as well.

He explains, “The pattern of distribution tends to repeat itself. In 2009, we couldn’t sell ‘The September Issue (Anna Wintour doc)’ at Sundance. However, we found a great opportunity to sell it later to Roadside Attractions who released it in theaters and earned a significant profit because it was successful. We’re currently experiencing a dip in distribution history, but historically, this cycle has returned. It returns when new distribution channels emerge, which is happening now.

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2025-01-24 03:17