EFM’s Fairly Tepid Market for Nonfiction Deals Drives Innovation and Resilience, According to Sales Agents

The 2025 edition of the Berlinale has been one of the coldest in recent memory, with the German capital covered in snow for almost ten days and the thermometer occasionally hitting -10°C. The A-list gathering, which ran from 13–23 February this year, saw a brand-new management team take over the festival direction. The festival’s American director Tricia Tuttle appointed German-French executive Tanja Meissner to head the European Film Market (EFM, 13–19 February).

In its international competition, this year’s line-up hosted one documentary, Katerina Gornostai’s Timestamp. The picture, sold by Belgium’s Best Friend Forever and already picked up by Dutch, Belgian, and French distributors, delves into the experiences of educators and students living through the war in Ukraine.

A few other non-fiction standouts playing in Panorama and Forum include Brandon Kramer’s Berlinale Documentary Award winner Holding Liat, Luzia Schmid’s take on controversial singer and actress Hildegard Knef, I Want It All, Martina Priessner’s Panorama Audience Award winner The Moelln Letters, Tatiana Fuentes Sadowsky’s Super 8, black-and-white-shot The Memory of Butterflies, and Gianluca and Massimiliano De Serio’s ethnological music tour Canone effimero.

Select High-Profile Projects Announced, Sales Taking Center Stage at DocSalon Panels

At EFM, a handful of high-profile projects were announced by the trades, including Raoul Peck’s latest effort Orwell, Margreth Olin’s untitled horse documentary, and Stéphane Sorlat’s The Velazquez Mystery, narrated by Vincent Lindon and the closing chapter of a trilogy kicked off by José Luis López Linares.

Meanwhile, several DocSalon panel discussions focused on or touched upon the topics of sales. One in particular, titled “Encouraging Growth” and moderated by Deadline’s Matthew Carey, saw the participation of Mediawan’s Head of Documentary Sales Arianna Castoldi and Les Films du Losange’s Head of International Sales Alice Lesort, who delved into the paths of Johan Grimonprez’s Soundtrack to a Coup d’État (2024) and Mati Diop’s Golden Bear winner Dahomey (2024).

Among key takeaways, Castoldi and Lesort agreed that a territory-by-territory sales strategy remains the most viable approach, offering flexibility in tackling country-specific challenges. However, they highlighted issues related to runtime and perception, with Lesort noting that shorter films like Dahomey (68 minutes) risk being seen as “small films,” complicating sales, while Castoldi pointed to the challenges of selling longer titles such as Soundtrack to a Coup d’État (150 minutes).

The speakers’ other insights largely echo familiar trends. Castoldi reiterated the long-held belief that festivals remain pivotal for sales, emphasizing that premiering at major events like Sundance and Berlin boosts awards prospects and market appeal. Lesort defined once more the documentary market as “highly polarized,” with only a handful of films securing high prices, whilst Castoldi reminded how streaming platforms are increasingly distancing themselves from festival-driven documentaries, instead favoring true crime and celebrity-focused content, reinforcing well-established patterns in the industry. 

A Market in Motion

To perform a fair—yet non-exhaustive—temperature check, Documentary spoke to four key players in the European documentary sales landscape, who shared their insights on market trends, content demand, and the overall climate for acquisitions. While some expressed concerns about diminishing buyer presence and the positioning of documentary-focused activities, others noted a sense of resilience and innovation within the industry.

Stefan Kloos, veteran doc producer and head of Berlin-based world sales outfit Rise & Shine, highlighted the company’s focus on promoting its upcoming titles, Ai Weiwei’s Turandot, Blame, and The Helsinki Effect. In terms of sales, Rise and Shine secured further deals for 2024 titles E.1027 - Eileen Gray and the House by the Sea (sold to Taiwan and Austria), Ms. President (Spain), Of Caravan and the Dogs (Sweden), and The Day Iceland Stood Still (Poland, Spain, Germany, and Japan).

Open Kitchen Films, a relatively new player in the field of nonfiction sales, took a selective approach to acquisitions. The company, based in Marseille, Akranes, and Ljubljana, began operations last year, launching at IDFA with the acquisition of Eliza Petkova’s Silent Observers and handling international rights for the award-winning doc on Hungarian youth, KIX. The business was founded by director Petra Seliškar, Cinéphage Production’s Victor Ede, and Icedocs’ Ingibjörg Halldórsdóttir, with Martina Droandi, formerly of Autlook, serving as the executive director.

At the EFM, the pan-European firm picked up worldwide rights for The Stimming Pool by the Neurocultures Collective & Steven Eastwood. Their sales activities included a deal for Silent Observers in Poland with So Films, while their film Unanimal is set for a world premiere at CPH:DOX in the NEXT:WAVE competition.

For French sales agency Lightdox, the market proved to be an effective platform for generating interest in their titles, particularly Igor Bezinović’s hybrid doc Fiume O Morte!, which had recently won the Tiger and FIPRESCI awards. While sales negotiations require time, the recognition helped elevate the company’s profile and created further momentum for its catalogue.

Meanwhile, UK-based Taskovski Films focused primarily on meetings with festival representatives, theatrical buyers, and VOD platforms like MUBI, though they noted a reduced presence of TV buyers. The company also engaged with producers to rep their films as a PR firm and discussed partnerships with funds for tailor-made training programs. Though no agreements were finalized, Taskovski remains forward-looking, anticipating the launch of an undisclosed new documentary feature at Thessaloniki next month.

Declining Attendance, New Players in Town, and AI 

A recurring observation was the noticeable decline in buyer attendance, particularly for documentary acquisitions. Kloos expressed concerns over the decreasing focus on documentaries, noting that the Martin-Gropius-Bau felt emptier than in previous years. He remarked, “Less buyers in Berlin and less focus on docs—which is sad to witness,” adding that the Documentation Centre for Displacement, Expulsion and Reconciliation, used as the Berlinale’s main venue for nonfiction professionals, felt counterproductive for sales activities, as Gropius Bau remained the key location for acquisition meetings.

On a more positive note, Halldórsdóttir and Ede highlighted the emergence of new sales companies, signaling optimism despite the challenges. They also praised the strong sense of community and collaboration at the market, with growing interest in alternative distribution models. They noted, “We find that audiences respond very well to screenings that are framed as events,” citing Silent Observers, which will screen at the Tempo Film Festival in Sweden with a live improvised concert.

Similarly, Raluca Iacob and Anna Berthollet, of Lightdox, found the market to be active and encouraging, particularly with regard to audience engagement strategies. They observed a shift in attitudes from previous years, stating, “Instead of lamenting challenges, professionals seemed focused on finding practical solutions and innovative strategies to navigate the evolving landscape.” They pointed out that the recognition of Fiume O Morte! was key in drawing attention to their wider catalog, reinforcing the demand for auteur-driven documentaries.

Meanwhile, Irena Taskovski expressed skepticism about the increasing obsession with AI and new technologies in the industry. “Everyone is totally mad about AI and new tech. I guess that’s the path we’re taking, but I still see it as total madness,” she remarked. While acknowledging that films will continue to be made traditionally, she noted a shift in the market surface, citing the presence of a Microsoft AI stand at the Producers’ Hub as indicative of the industry’s new direction.

Content Trends and Evolving Distribution Models

One of the most significant trends observed by Kloos was the growing tendency among theatrical distributors to adopt a “one film” policy. Instead of acquiring multiple documentaries, they are opting to focus on fewer titles with stronger mainstream potential. At the same time, there is an increasing volume of “small” films being offered, making it difficult to filter through the vast number of submissions.

The Open Kitchen Films reps emphasized the importance of cross-border collaboration in strengthening European distribution networks. They stressed the need to connect different regions and engage younger audiences with diverse storytelling approaches. Their informal partnership with INDOX exemplifies this shift, as they took over worldwide rights for The Stimming Pool, while INDOX is handling UK & Ireland rights for Silent Observers.

For Lightdox, the demand for documentaries with a distinct artistic vision was a key takeaway from this year’s EFM. While issue-driven content remains relevant, they observed a shift toward films that stand out owing to their cinematic and storytelling approach. “Buyers and programmers were particularly drawn to unique artistic expressions rather than just the topicality of a film’s subject matter,” they noted. Additionally, they highlighted growing enthusiasm for female-directed films, especially those offering fresh perspectives on historical and contemporary narratives.

“Another major discussion point at the EFM was AI. Rather than fearing its impact, the industry seems increasingly open to exploring its potential. AI-related panels and discussions were well-attended, and there was a general sense that technological advancements could bring new creative and business opportunities,” said Iacob and Berthollet. “Many industry professionals appeared eager to integrate AI-driven tools in ways that enhance rather than replace artistic and production processes.”

However, Taskovski feared that the rapid integration of AI and new technologies could have unpredictable consequences for the documentary sales landscape. She also pointed out that many documentaries are now being produced directly with major platforms like Netflix and National Geographic, bypassing traditional sales routes. Berlinale, she observed, is not particularly suited for TV-oriented commercial documentaries, which adds to the challenge of securing deals at the market.

Looking Ahead

Despite the challenges, the EFM reflected a dynamic and forward-looking industry. While traditional distribution models continue to evolve, there remains a strong appetite for high-quality, auteur-driven documentaries. Companies are increasingly experimenting with new strategies, from event-based screenings to direct audience engagement and alternative financing models.

As Iacob and Berthollet summed up, “The sentiment was that, despite uncertainties, the future of arthouse cinema remains open, with plenty of opportunities ahead.”

“Overall, the EFM felt dynamic, with a strong sense of forward momentum. While traditional models continue to evolve, there is a clear appetite for high-quality, auteur-driven documentaries and a willingness to embrace new strategies to reach audiences,” they continued.

Ultimately, this year’s market shone a spotlight on both the challenges and opportunities within the documentary sector. While the shrinking buyer presence and shifting distribution models present obstacles, innovative approaches and strong curatorial strategies are hopefully paving the way for a new phase in the industry. However, the current geopolitical situation, alongside the recent rise of far-right movements in Europe (see: German elections) and worldwide, raises concerns about the future of documentaries and creativity at large—an increasingly palpable topic of discussion in the corridors of the EFM.

Davide Abbatescianni is a film critic and journalist based in Rome. He works as an International Reporter for Cineuropa and regularly contributes to publications such as Variety, New Scientist, The New Arab, Business Doc Europe, and the Nordisk Film & TV Fond website. He also serves as a programmer for the Torino Film Festival, one of Italy’s largest cinematic gatherings.