On the eve of the 2024 European Film Market (EFM), Business Doc Europe caught up with Georg Gruber and Frauke Knappke of Berlin-based outfit Magnetfilm. During our conversation, we touched on Magnetfilm’s editorial policy, the current climate for doc sales and, of course, the company’s solid non-fiction slate, spearheaded by the Panorama-bound doc Teaches of Peaches.
Unsurprisingly, Gruber and Knappke label Philipp Fussenegger (I Am the Tigress) and Judy Landkammer’s feature “the absolute highlight” of their line-up.
“Peaches is one of those artists and musicians that has left a deep impact on culture and society, not only through her pivotal debut album ‘The Teaches of Peaches’ but through consistently challenging gender norms and advocating for LGBTQIA+ rights and being a feminist icon who confronted stereotypes and patriarchal power structures in pop music,” the pair explain.
They describe the documentary as “an immersive journey that not only encapsulates her artistic versatility but also narrates the unfolding universe and evolution of a trailblazer in queer, intersectional, and sex-positive feminism.”
“Next to the powerful live concert footage of ‘The Teaches of Peaches Anniversary Tour,’ Fussneggeger and his co-director and editor Landkammer were able to gain intimate insights into Peaches’ first years thanks to her provision of countless hours of exclusive and private archive material.”
“Companions from today and back then, such as Chilly Gonzales and Leslie Feist, add anecdotes from the late 1990s and early 2000s and of course there is footage of some wild concerts from back then as well, including some Berlin anecdotes and [archive] footage of course,” they further explain.
The project was produced by Cordula Kablitz-Post for Germany’s avanti media fiction, with backing from BKM, the German Federal Film Fund, Nordmedia and Land Vorarlberg.
Gruber and Knappke zoom in on another strong title of their catalogue, namely the architecture doc The Power of Utopia – Living with Le Corbusier in Chandigarh, directed by Karin Bucher and Thomas Karrer.
The film follows “four cultural workers living in the planned city of Chandigarh, reflecting on Le Corbusier’s legacy, utopian urban ideas, and the cultural differences between East and West.”
Meanwhile, Marcel Mettelsiefen’s Tanja – Up in Arms documents “the remarkable journey of a young Dutch woman who, after arriving in Colombia as an au pair in the early 2000s, joins the FARC guerrilla army amidst the country’s political turmoil.” Against the backdrop of global discussions on social justice and political unrest, the picture offers “a human perspective on complex geopolitical issues and contemporary themes of activism and conflict resolution.”
Moreover, Gruber and Knappke tell us that they are excited about the upcoming release of Hydrogen Global, helmed by Andreas Pichler (The Milk System, Alcohol).
“With water poised as the ‘coal of the future,’ this documentary addresses pressing environmental concerns, rendering it both timely and relevant for audiences. True to Pichler’s style, the film offers a global perspective, delving into key players in the market, significant infrastructure projects, and the challenges associated with establishing a global hydrogen market,” they reveal.
Talking about their approach to documentary sales, the pair defines it “quite hands-on.” “We strive to be professional, efficient, reliable, and transparent. While we cherish working repeatedly with the same producers, we also relish collaborating with newcomers. Our focus is on actively seeking well-crafted documentaries with captivating narratives, compelling subjects, and undeniable global appeal,” Gruber and Knappke explain.
Every year, the firm aims to handle from 8-10 documentaries, while targeting approximately 5-6 events and markets. These may include some “usual suspects” such as the EFM, CPH:DOX, Hot Docs, MIPCOM, Nordisk Panorama, Dok Leipzig and IDFA but also “some short film festivals and markets.”
Commenting on the current climate for sales, Knappke and Gruber admit that “2023 proved to be quite a challenging year.” In particular, they explained that “the titles that sold well had to check many of the right boxes” and “surprisingly, even strong films sometimes failed to secure deals.”
“This was a new experience; just two to three years ago, you could be confident that films of a certain quality would sell in at least a couple of territories. We’re certainly anticipating 2024 will bring a more vibrant market,” they continued.
When asked what doc buyers are currently looking for, the answer is simple and straightforward: “The market favours commercially-driven projects with celebrity involvement, internationally known IPs, and themes like sports, music and fashion. Artistic films are less and less sought after.”
Finally, Gruber and Knappke shared their hopes for this year’s EFM: “Our success hinges on generating buzz around Teaches of Peaches and securing the right partners. The mere announcement of the title in the Berlinale programme has already piqued a lot of interest. Additionally, our focus is on enhancing the financial quality of deals rather than simply increasing their quantity. Besides, a key element for a successful market participation is, as usual, the fostering of both new and existing client relationships.”
