On 16 February, EFM hosted an intimate roundtable discussion titled “Non-Fiction Awards Campaigns,” moderated by Matt Carey, Deadline’s Documentary Editor. Carey interviewed Salma Abdalla, recently appointed Head of Communications at the Austrian Film Institute and a seasoned sales professional, having formerly headed up Autlook. The core topic of the talk was award campaign strategies for documentaries.
Carey began by asking how awards campaigns for documentaries have evolved over the years. Abdalla noted that the documentary awards season is a relatively recent phenomenon, with the category expanding significantly, particularly in Europe. This increased visibility has altered the approach to campaigning, making it insufficient to rely solely on screenings in Los Angeles. Instead, outreach has extended to multiple cities.
Carey then brought up the Academy’s Documentary Branch, which now comprises roughly 600 members, and the controversy surrounding the Academy’s efforts to diversify its membership. He explained that about a decade ago, the organisation began expanding its ranks with more international professionals while striving for gender parity. He asked whether this shift had influenced the selection process. Abdalla pointed out that this year, no Netflix documentary was nominated, indicating that members are now voting for films they genuinely believe in. This change of the voting body has opened new opportunities for filmmakers worldwide, who previously struggled to compete without a U.S. distributor attached. As an example, she cited No Other Land, which has not yet secured a U.S. distributor.
Carey questioned the significance of premiering a film well in advance of the Oscars calendar. Abdalla stressed its importance, noting a high percentage of the nominated films typically play at Sundance, while No Other Land premiered at the Berlinale. Some teams prefer to wait a year or take additional time to secure the right festival launch.
Carey acknowledged that while the press is not a gatekeeper, it still plays a crucial role in shaping a film’s trajectory. Word of mouth and coverage in industry trades significantly impact a documentary’s path to the Oscars. Abdalla then outlined the necessary steps to qualify for an awards campaign. Filmmakers must either premiere at a qualifying festival (a list available on the Oscars website) or secure a U.S. theatrical release. Before meeting these requirements, the film cannot be released on home entertainment or VOD platforms. Once eligible, intense press activity take place on both coasts in key cities like New York and Los Angeles.
She elaborated on the financial demands of campaigning, explaining that until a film reaches the shortlist, teams often spend between $10,000 and $30,000 per month on press agents. While press campaigns are handled globally, key figures such as Claudia Tomassini play a pivotal role in Europe. Abdalla noted the shortage of skilled publicists and predicted a growing need for them in the future, given the increasing number of European voters in the Academy.
Beyond press outreach, filmmakers must also attend key festivals, further adding to their expenses. DOC NYC, for instance, is one of the essential events for meeting Academy documentary voters. If a film makes the shortlist of 15 titles, the campaign enters a new phase, often requiring continued spending on publicists. At this stage, securing additional funding from private and public sources, including philanthropists, becomes easier. National support can also be instrumental. Abdalla cited Anna Hints’ Smoke Sauna Sisterhood, which benefited from backing by the Estonian Tourist Office for its Oscars campaign.
Different players approach campaigning with varying budgets, but a minimum investment of $150,000 is generally required, with the average cost reaching around $450,000. Press visibility remains paramount, with strategies including email blasts. Both Carey and Abdalla discussed the effectiveness of e-blasts, while Abdalla highlighted the growing trend of inviting Academy Documentary Branch influencers, who possess extensive networks.
Shifting focus to the European Film Awards (EFA), Abdalla noted their increasing relevance. The ceremony now takes place in December, with plans to move to January in the future. Held in Berlin every other year, alternating with guest countries, the EFA voting members are generally perceived as more “passive” than their Oscars counterparts. EFA campaigning remains easier, as filmmakers can generate awareness themselves and rules are less strict than those imposed by the Academy.
Abdalla also underscored the importance of hiring PR firms specialising in awards season whenever possible. Some firms are highly selective and command significant fees, though others may be more accessible. For instance, the publicist for No Other Land charged a lower fee than is typical, allowing the team to engage him early in the process.
Returning to the role of festivals, Abdalla reaffirmed the importance of strong documentary festivals such as CPH:DOX and IDFA, though Sundance remains the key launching pad. Given its highly selective line-up—only 12 to 15 documentaries—films showcased there receive unparalleled attention. More broadly, ensuring festival travel, particularly for competitive sections, remains crucial. While streamers are increasingly flexible on festival participation, restrictions still exist. Winning awards and securing festival exposure continue to drive press interest and industry recognition.
Abdalla advised filmmakers to engage strong publicists at their premieres and to bring on board a sales agent early in the process. Good publicists not only refine positioning but also help craft compelling synopses and secure striking visuals. Much of the campaign’s success depends on the filmmakers themselves, who must actively promote their work. She cited Asmae El Moudir, director of Mother of All Lies, who extensively travelled to support her film’s visibility.
Ultimately, Abdalla described awards campaigning as an industry-to-industry business. She referenced the recent Emilia Pérez scandal as an example of the complexities and unpredictability involved. Other recurring challenges include political pressures and protagonists demanding financial compensation or filing lawsuits post-release, as occurred with The Elephant Whisperers.
Finally, Abdalla touched on the distinctions between campaigning for shorts and features. While shorts require significantly lower budgets and lack national film fund support, they offer the advantage of online campaigning. Filmmakers can personally share their shorts worldwide, making visibility more accessible despite financial constraints.
