Campaign Profile

Mirjam Strasser, head of sales and acquisitions at Germany’s Autentic Distribution, puts the spotlight on new ways of financing documentaries, plus renewed demand for current affairs and natural history content.

How is the role of distributors changing in the factual space?

It is evolving significantly. In the past, distributors primarily came into action after a project was completed, but now our involvement begins much earlier in the process. For example, we have recently acquired the worldwide distribution rights to The Sum of All Cities, produced by the acclaimed Canadian production company DBcom Media. Our decision was made solely based on a treatment and a teaser.

The eight-episode series isn’t expected to be completed until fall 2025. Early involvement allows distributors to provide strategic input that shapes the content to ensure it resonates with as many international markets as possible. We can bring invaluable insights into what works in different markets, helping tailor projects to maximise global reach and appeal. And we are there early enough to secure the content for our catalogue and outlets, as the fight for content is still going strong.

How are the business models behind documentaries changing?

Broadcasters and cable channels used to be the primary funders of most quality factual shows. Traditionally, producers could rely on them to provide the majority of the budget. However, with declining advertising revenues, stagnant funding from public broadcasters and rising production costs, it has become increasingly difficult for producers to stick to this traditional model. As a result, distributors are stepping in earlier as investors in content. Without distribution advances and without the capacity to secure additional coproduction partners, many producers are finding it difficult nowadays to get their shows off the ground.

What other new sources of finance are being used to get factual projects off the ground?

Specifically in the factual category, regional and federal subsidies and tax credits have become crucial success factors. Several countries have improved their programmes, post-pandemic, to strengthen their audiovisual industries. Another source of financing for factual content comes from major global SVoD platforms, although they tend to focus their upfront investments on a rather small number of tentpole shows. And then there’s the digital AVoD/FAST market. Many producers don’t take this market seriously enough, as it rarely provides cash for production upfront, but this is where the growth is.

Have there been recent changes in demand for documentary series?

We’ve always seen a strong demand for series content, particularly for returning series. With the growing importance of VoD and digital platforms, series have become even more popular. Many broadcasters are very interested in buying additional seasons of successful series, which is why we’re especially excited about Autentic Studio’s Hot Roads – The World’s Most Dangerous Roads returning for its fourth season, currently available for pre-sale.

Deadly Science, a series we commissioned from Go Button Media, is also coming back for a second season, a decision driven by the first season’s success. Another series highlight this year is Metal Detective, a thrilling addition featuring 30 hours of captivating factual entertainment that takes viewers on an adrenaline-pumping adventure to the iconic battlegrounds of the First and Second World Wars, where history detective Gibba uses state-of-the-art metal detection to uncover real war relics buried for decades.

How is the market for wildlife programming evolving?

While there is growing openness for hosted wildlife series, particularly those featuring well-known hosts, there remains a strong demand for pure wildlife programmes. Blue-chip wildlife documentaries, which focus exclusively on animals and their natural behaviours without any human presence, continue to be the most popular, especially when they are narrative-driven with more emotional and creative storytelling.

Additionally, we’ve seen an increase in wildlife programming that explores the impact of human activity on the environment or examines the interactions and relationships between humans and animals. Viewers are particularly drawn to stories that highlight the adaptability of nature, offering a more optimistic perspective rather than just doom and gloom.

What new titles are on your slate in this area?

We have an exciting line-up of new titles in the wildlife programming area that cater to both classic wildlife enthusiasts and those interested in human-animal relationships or environmental conservation. Katavi – Africa’s Last Refuge, by Terra Mater Studios, for example, explores the complex interactions between hippos, crocodiles and lions in the remote Katavi National Park, highlighting their struggles and unexpected alliances. We’re also thrilled to present Fabulous Insects, a two-part series on ants and beetles by Nautilusfilm, and Wild Mediterranean by Spanish company Docu Producciones, which spans three episodes focusing on the Iberian lynx, the barbary macaque and the wolf.

In the realm of human-animal relationships, Terra Mater Studio’s Patrick & The Whale is an award-winning film that beautifully captures the deep bond between a human and a whale. Terra Mater’s Wild Vienna and San Diego – America’s Wildest City focus on the wildlife that has adapted to urban environments, showcasing how animals like foxes, birds and even bobcats are thriving in human cities.

With political issues in the headlines, how is this changing the market for current affairs programming?

We live in a time of geopolitical struggles and political issues dominating the headlines, fuelling strong demand for current affairs programming, particularly investigative documentaries that uncover hidden stories. While current affairs programmes may have a shorter shelf life due to their immediate relevance, they tackle crucial societal issues and, when well made, can serve as lasting documents of history. Autentic Distribution is known for its strong slate of current affairs content, providing compelling programming that meets this growing demand for insightful and impactful storytelling.

What is on your Mipcom slate that caters to this growth in demand?

We have several compelling titles. One standout is Deserted – Europe’s Deadly Migration Policy, an investigative documentary produced by Bayerischer Rundfunk, Deutsche Welle, Norddeutscher Rundfunk and Lighthouse Reports. It exposes the devastating impact of Europe’s migration strategy, revealing how refugees are abandoned in deserts due to EU policies funding North African security forces.

Another key title is Dying Democracies – Europe in Decline, produced by our in-house production department Autentic Studios. This two-part series explores the rise of right-wing populism and the erosion of democratic systems in Europe.

How is the growth of YouTube as a TV platform changing your distribution strategy?

At Autentic, our distribution strategy goes beyond simply licensing our programmes. This year, we successfully launched our first YouTube channels, starting with Autentic Documentary, which marked an exciting new chapter for us. We recently followed up with the launch of Autentic Nature and are planning to introduce additional channels soon.

This expansion into YouTube and other digital platforms is a natural progression for Autentic, as we have been active in the channels business for quite some time, starting with pay TV. We are also continuing to partner with several other players’ YouTube channels to reach the audience for our films wherever people want to find the shows they like. Over the years, we’ve adapted to the changing media landscape and strategically positioned ourselves as a key player in the FAST and AVoD sector.

Given all the changes in the TV business, what do you think are the biggest challenges facing the factual TV industry?

Securing funding has become increasingly difficult, often requiring longer timelines and multiple financing partners. This complexity not only delays production but also makes it harder to bring new projects to life in a timely manner. A significant part of the factual production industry is designed to be paid upfront for their production activities, and most producers are not equipped to take on their own financial risks. However, many digital players expect creators to cashflow their own content, with revenues generated only when viewers begin watching the finished shows. That’s where producers will have to adapt their business models by partnering with investors, larger companies or distribution experts, if they want to be where the market grows.