CPH:DOX: Autlook Film Sales and First Hand Films’ CEOs on Doc trends

Vienna-based Autlook Film Sales is involved in customised distribution, sales and festival strategies to help producers in maximising revenues, audience engagement and talents in expanding their career.

CEO Salma Abdalla and her team are representing four films in official selection at CPH:DOX: Viktor Nordenskiöld’s Behind the Swedish Model (SE/DK) competing in the Nordic:Dox section, Lena Karbe’s Black Mambas (DE/FR) competing in the F:act section, Ruta Baghdadi’s Sirens (US/LE) in Sound & Vision, as well as Neasa Ni Chianain and Declan McGrath’s Young Plato (NIR/IRL) at Highlights.

What is the biggest single distribution and co-financing trend are you experiencing these days?
Salma Abdalla: As already developing over the last year, there are more globally operating streamers who are asking for global rights. They are asking for a certain level of commercial potential and very high production value. Other docs are still mainly financed by public broadcasters and funders.

What markets/territories are most active buyers?
SA: North America, Nordics, Germany, France, UK and emerging markets are South East Asia for us at the moment.

What docu genres are most in demand?
SA: Still biopics/portraits, current affairs related to the news cycle, hot-button society topics.

If you had a tip for producers, what would it be?
SA: Always think about the audience who you want to see your films, and be open to comments if you want it to make it an international successful film. Most of these films are based on successful team work and many consultants are attached.

What is your focus at CPH:DOX?
SA: Acquiring new exciting projects.

Zurich and Berlin-based First Hand Films founded by Esther van Messel, handles production, global sales, as well as theatrical distribution in Switzerland.

The company is a long-time partner to Nordic producers. Recent pick-ups include Norway’s A-ha The Movie, Trust Me, Name of the Game, Finland’s Walk the Tideline and Denmark’s It Is Not Over Yet.

What biggest single distribution and co-financing trend are you experiencing these days?
Esther van Messel: We see a hunger for facts, archives, blue chip behind-the-scenes docs of politics and economy. There is no space for local and personal stories at all. And the streamers want noisy names, in front or behind the camera, everything needs to be google-able for them.

What markets/territories are most active buyers?
EVM: It varies, the European buyers are strong, and some Asian ones too (Hong Kong, Japan), and in recent years non-public broadcasters like Al Jazeera and TRT International, although their budgets have shrunk.

If you had a tip for producers, what would it be?
EVM: Forget Plan A (Sundance and a big sale to Netflix), focus on solid, smart stories, finance them well within your region, fight for political support of filmmaking – and love your audience, even if it’s not the biggest one. We’re in a business of seduction, the audience has many alternatives: make them follow you and stay with you.

What are you focusing on at CPH:DOX?
EVM: I am assessing a few projects that are pitching or presented in another way (it’s a great selection!) and I’ll be pitching So Called Sisterhood with my wonderful director Hanka Nobis. I produced her first film Brotherhood with HBO Europe, SRF, RTS and MDR for ARTE.