Fresh from its double win at CPH:DOX in Copenhagen (Best Doc and Amnesty award), Østergaard's film was a favourite when it entered the IDFA competition - the world's largest and arguable most prestigious documentary festival. And Burma VJ did it again, conquering not only the jury of the Joris Ivens competition but also of the ‘Movies That Matter Human Rights' strand. The Joris Ivens jury commented: "the intelligent use of a voice-over and the way the story is scripted make it a story that unfolds before your eyes and a reflection at the same time...Burma VJ is a harrowing reminder of the power and the weakness of images."
Esther van Messel (First Hand Films) who got involved in the project as early as 2005, and handles world distribution, is thrilled by the excellent response from critics, festivals and buyers alike, although that doesn't surprise her. "The film touches you at a deep level, and it also draws your attention to such a level that you want to know what will happen. It's incredibly well made," she says.
The Danish doc was produced by Magic Hour Films in co-production with Scandinavian broadcasters DR, SVT, and NRK. The co-production with Channel Four TV in the UK, WDR and ARTE, and the Dutch Ikon were brokered by First Hand Films and the film was then pre-sold to YES Israel, VRT Belgium and TV Cataluña. At IDFA, Burma VJ was sold to YLE in Finland and to Canada, with several offers from US buyers on the table. Østergaard's film will next screen at the Sundance Film Festival in January, where van Messel wants to launch it with the ‘best possible partner'.
The experienced sales agent is positive the film will have a theatrical run in the US, the way The Monastery did (through Koch Lorber Films), another Danish doc supported by Nordisk Film & TV Fond, that she successfully sold around the world.
For van Messel whose company handles some 30 projects per year (mostly documentaries and TV series), Danish docs stand out on a qualitative standpoint thanks to "the strong funding and commissioning system in place". "Having someone like Dola Bonfils (DFI short and docs film consultant) who can sign off a project, is worth so much more than any subsidy scheme, and the better the producer is supported, the better the film can turn out and maximise on its quality," she stresses.