If you're looking to find distribution for your documentary film, look no further than Video Librarian's guide. We offer a variety of options for film distribution agreements, movie distribution business plans, distribution companies and channels, and licenses.
The chum is in the water—the documentary film distribution market is hot. Every streamer is invested in the space, splashy acquisitions dominate the trades, and every celebrity you can name is either receiving their own documentary or at minimum, executive producing them. It is a far cry from the market only a decade ago which, while healthy, was a small blip in all of the aforementioned spheres of the industry and largely sat at the periphery of the industry.
The reasons for that are diverse: relatively low costs with high upsides that don’t need to be made on union contracts (but still well paid for crew and creatives), interesting subjects that may not obviously work as narratives, and the greater rush for content that dominates the zeitgeist even if just for a brief moment.
This market has afforded creatives a rare opportunity in distribution to bat up multiple weight classes. But for every Lake of Fire or Ascension, there are dozens of films left to unpack the nebulous process of sales and distribution when Plan A—a big fat minimum guarantee with a blue chip distributor—doesn’t work out.
So let’s look at the process holistically here so you, dear reader, can plan accordingly to find a distributor for your documentary film.
Submit your documentary to film festivals
Anyone who says things like “Applying to Sundance/SXSW/Tribeca/TIFF/Etc is a waste of time has been at the receiving end of the disappointing news and outcomes that plague the vast majority of documentary filmmakers. But you can’t escape the fact that the possibility of acceptance and what that can mean for your film (and career) is the biggest game-changer you can achieve.
So make those submissions. Find ways to get on a programmer’s radar—ideally via a sales agent or executive producer—and be prepared. Submit something as polished as conceivably possible. If you don’t know how to reach the prestige sales agents, find a friendly aid via IMDB that can help.
Take every swing you can. If you can find a way to at least be taken seriously by these power brokers, you have a chance, however small.
If (when) that doesn’t work out, be sure you’ve done your research in advance which brings us to…
Research all the distributors in the filmmaking market
Research is king in filmmaking. Too many filmmakers are too in love with their films to accept the fact that in all likelihood, you will be your own advocate and the last one standing.
So learn all the distribution players involved. Not just A24, Netflix, Hulu, HBO, NEON, etc. Learn about companies like Oscilloscope, Strand, Music Box, Greenwich, Grasshopper, Kino Lorber, etc. These are boutique companies that while also engaged in high-profile acquisitions, are much more open to diamonds in the rough. These are specialized buyers who can activate targeted audiences and whose reputations with buyers for TVOD, SVOD, and AVOD are strong and often even see value even in windows such as limited-run DVDs.
While it's always hard to cold call and submit to executives you don’t know, if you’re prepared, you can be set up to be considered seriously. Make sure your teaser is weapons-grade (poppy, quick moving, and sets up the conflict and intrigue economically), have a strong festival poster, and an EPK that outlines your value propositions succinctly and accessible.
When your film doesn’t work out with the top ten festivals, understand the value of regional and documentary-specific festivals. These often have industry eyes on them via labs, panels, pitch events, and networking meet-ups. I have made many lasting relationships at places such as Big Sky, Milwaukee, Tallgrass, and more which not only can benefit your film but your career writ large. Leverage those selections to get regional press and either use your publicist to exploit those victories (and hopefully some Audience Awards!) and if you can’t afford one, spend an afternoon researching critics who might respond to your film and try to personally reach them.
Be prepared to lose your ego and your sense of shyness to make sure you are seen. If you play your cards right, you just might find what you’re looking for and a curatorial distribution partner who needs your film to succeed just as much as you.
There are a few other options in your search for distribution that you should also consider.
Consider an aggregator or small-scale distributor
Another option is the world of rights bifurcation. While a five-dollar word, it's a simple ethos: protect and diplomatically assign rights to parties who can help you manage your distribution windows.
You could partner with an aggregator (such as Gravitas Ventures) or small-scale distributor (Dark Star Pictures as an example) and work closely with them to negotiate fair terms for limited rights. You probably don’t want to manage TVOD distribution—your first window where you sell direct to consumers via Apple, Amazon, Vudu, etc—so find a party interested in taking that on and exposing for SVOD (limited term licenses with Netflix, Hulu, etc) and AVOD (ad-supported streaming such as Tubi, Pluto, Crackle, etc) distribution as well. They can manage those far more effective and targeted than you can.
Find distributors who still support theatrical and DVD releases
Theatres and DVDs are not dead. If you have a film with a niche or particular audience, you can likely find a way to get these people to theaters and maybe even buy a DVD or Blu-Ray. But to drive those sales you may want to explore finding a select batch of theaters in markets where your subject is relevant and interests the general populace. Propose revenue splits with them and be flexible on dates. If they simply can’t do a profit-sharing-only arrangement, see what sort of deal for theater rentals you can swing and what sort of audience turnout could allow for additional screenings.
Use those screenings as a means to connect directly with your core audience and evangelize them to engage on social media and tell others. If you play your cards right, you can not only find fans that will then seriously consider buying physical media or merch but will stick around for whatever you do next.
Try like hell to work with a company like Passion River to distribute your DVD and manage its placement in big box stores and online. They’re curatorial and understand how to make money in a niche distribution window. They take on some rights but they also take on the stress.
Keeping your own film rights for distribution
If you don’t want to sell off any rights, work with FilmHub, Indie Rights, or Giant to get you on TVOD, AVOD, and oftentimes pitch SVOD partners. They’ll take a split of revenue or a modest upfront fee and ensure you get placed. You can’t guarantee how far the reach for those windows will be but once you know who picked up your film, you can funnel your audience to those places.
Make your audience understand how simple it is to buy/rent your film at platforms they may not be familiar with and get them to throw down a few bucks to support a true indie.
Work with Allied Vaughn if you can to Made-to-Manufacture your DVD and/or Blu-Ray. Use your network through giveaways, Q&As, events, and more to encourage them to purchase physical media. The margins are solid and emotionally it feels good to hold your film in your hands.
Here are some extra resources for indie filmmakers looking to find distribution for their documentary films:
INDIE GAME THE MOVIE: Official Site Case Study