The theatrical distribution of documentaries in Europe has entered a phase of both unprecedented opportunity and increased complexity. At the MIA panel Getting Docs to Theatres: Strategies and Opportunities held on October 9, industry professionals shared insights on marketing, audience engagement, and innovative distribution models that are reshaping the sector.
Moderated by Giorgio Bigoni, COO of Cinetel, the session included contributions from Enrico Bufalini, director of the Historical Archive of Films and Docs at Cinecittà (Italy), Artur Liebhart, CEO and festival director of Millennium Docs Against Gravity (Poland), Agustina Lumi, business development consultant at Usheru (Ireland) and Anastasia Plazzotta, CEO of Wanted Distribution (Italy).
Bigoni opened the discussion with an overview of Italy’s theatrical documentary market, highlighting record-breaking figures. In 2024, documentaries achieved the highest box office revenue in history, grossing €8.8 million with more than 1.1 million tickets sold. This represents an almost 80% growth compared to 2023, maintaining a stable share of nearly 2% of the total Italian box office. According to the figures, documentaries are slightly more popular than thrillers and not too far from biopics. Traditional releases dominated, with 287 films, alongside 26 re-releases, 25 event releases, 18 shorts, and 2 re-release events. Notably, event releases—films screened for a very limited period—accounted for just over 7% of releases but contributed 61.5% of the total documentary box office.
The top-performing titles in 2024 included Sarò con te (€1.44 million, 120,485 admissions), Il segreto di Liberato (€1.14 million, 132,258 admissions), and Inter. Due stelle sul cuore (€1.10 million, 91,734 admissions), all event releases. Early 2025 saw continued success with No Other Land (€835,798, 135,154 admissions) and Pino Daniele: Nero a metà (€623,181, 72,422 admissions). Bigoni emphasised that, while quality content remains crucial, timing and relevance are equally decisive. Films responding to current events or topical themes, such as No Other Land, which addressed the Israel–Palestine conflict and went on to win an Academy Award, illustrate this strategy. Similarly, Sarò con te, which chronicled Naples’ football championship, became an instant hit.
Later, Usheru’s Agustina Lumi (Ireland) presented the marketing challenges and opportunities facing documentary producers in a rapidly evolving environment. She stressed that, in an era of “oversaturation” and increasing privacy restrictions, the emphasis has shifted from transactional campaigns to building lasting relationships with audiences. Lumi outlined key strategies, including community-building, personalised engagement, and creative use of small-scale incentives. She noted that 84% of customers remain loyal to brands that foster meaningful communities.
Usheru’s approach often involves gamified campaigns and interactive engagement. For instance, in the promotion of 78/52, a documentary on Hitchcock’s Psycho, the team created quizzes and competitions offering prizes like tickets and preview screenings. Similar strategies were used for Katie by Ross Whitaker, where fans could win memorabilia, and Smoke Sauna Sisterhood, demonstrating how creative, low-budget marketing can convert interest into ticket sales. Lumi concluded that early engagement is crucial: “Start early, I know it takes time, but start early,” she advised, stressing the importance of maintaining audience interest between releases.
Next, Anastasia Plazzotta illustrated how Wanted Distribution (Italy) has experimented with dynamic approaches, including Il Mesa del Documentario, a month-long event in February featuring six films—I Am Martin Parr, Il genio di Gianni Versace, Monte Corno, Fiume o morte!, Going Underground and Mies van der Rohe. Cinemas were guided in film selection and programming, allowing the company to test a more flexible model. While the initiative had mixed results in terms of immediate box office impact, several titles have enjoyed extended theatrical life, with Fiume o morte! advancing toward the Oscars. Plazzotta emphasized that the firm’s mission goes beyond profit: promoting films with passion and creativity remains central, particularly those that challenge stereotypes or provoke thought.
The panel also explored the lifecycle of No Other Land, which illustrates the potential of “militant distribution.” After winning the Panorama award at Berlinale in February 2024, the film premiered in Italy at Giffoni in July, saw a theatrical release in January 2025, and a re-release following its Oscar win in March. Post-theatrical strategies included screenings at the Italian Chamber of Deputies, partnerships with Amnesty International, Médecins Sans Frontières, and political figures, such as UN Special Rapporteur Francesca Albanese, as well as a national education project reaching 30,000 students. Digital campaigns on social media and SVOD release on MUBI extended audience engagement, while RAI 3 will offer free-to-air access in fall 2025. Notably, Italy’s far-right government had pushed to postpone the broadcast of the documentary, which was supposed to air on October 7, and it will now be broadcast on October 21.
During his contribution, Artur Liebhart shared insights from the Polish context, where Millennium Docs Against Gravity (MDAG) has grown into a year-round platform, distributing films theatrically while running a documentary academy and VOD service. With 1,600 screens nationwide and 25% classified as arthouse cinemas, Poland hosts seasonal theatrical cycles: Oscars, spring, summer, back-to-school/work, and December holidays. Liebhart illustrated distribution through case studies: Agent of Happiness premiered at MDAG with Q&A sessions before opening on over 40 screens nationwide, sparking widespread debate; Last Expedition moved from festival premieres to 85 screens, selling 70,000 tickets; and Whale Nation localized for Polish audiences attracted families and youth alike.
Finally, Bufalini offered the perspective of a major production and archive institution. Cinecittà typically co-produces around 30 documentaries annually, primarily for television or digital platforms, but in 2024 distributed eight in theatres, with six slated for 2025. The number shrank owing to the growing difficulties of distributing non-fiction theatrically, he argued. The selection includes Bestiari Erbari Lapidari, a three-hour documentary which required negotiation with exhibitors, and other films that have leveraged festival exposure for theatrical distribution, including Fela. Il mio Dio vivente,L’avamposto, and Il cassette segreto. Bufalini stressed that participation in festivals remains vital to securing effective theatrical runs.
