Documentary round table #2 - The distribution of classic documentaries

Wednesday October 18 saw the MIFC continue its programming on heritage documentaries, in line with the Cinémathèque du Documentaire's initiative to name 2023 as the Year of the Documentary. Introduced the day before by a round table on the localization of documentary heritage, questions about heritage documentary cinema turned today to its distribution, with another round table. Moderated by Pierre-Alexis Chevit, from Cannes Docs, it brought together Annaëve Saïag, Emmanuel Gibouleau, Catherine Bizern, Mathieu Berton and Mehelli Modi.

Documentary, a niche genre 

In his opening remarks, Pierre-Alexis Chevit asked the panelists about the specificities of the documentary genre, along with heritage documentary, in terms of its circulation and promotion. Market guests unanimously referred to documentary cinema as "cinema", and not as a genre separate from other film formats.

A symbolic statement, given that documentary was described by speakers as a "niche" genre, difficult to position in relation to the rest of the industry. Catherine Bizern, from the Cinéma du Réel festival, recounts how she initiated the Rendez-vous des documentaires du patrimoine, aimed at restoration project owners, to place classic documentaries back in the mainstream market. Although a market for heritage films opened ten years ago, notably with the creation of the MIFC, documentaries were not part of it.

Distinct from fiction, the cinema of the real is struggling to find its place with audiences, even though it is made like all films, according to Mehelli Modi. "It makes us feel the same emotions," explains the director of Second Run DVD. So, it's up to those involved in documentary cinema to work hard to assert its place.

The importance of distributing heritage documentaries 

This work is particularly aimed at distributors. For Mathieu Berton, of Météore Films, the challenge of his role as distributor is to "enlarge the niche" of documentary, labelled as a limited and divisive film genre. A task shared by Emmanuel Gibouleau, director of the Cinématographe, for whom it is necessary to make their viewers understand that documentary is cinema in general.

Guests were also keen to stress the importance of showing documentaries, and in particular heritage ones. For Catherine Bizern, showing old films helps us better understand our reality. It's because they're so contemporary that we watch them, they open our eyes to what we're going through. Annaëve Saïag, communication and marketing manager for Tënk, sees documentaries as an aid to understanding society and its current issues.

What are the initiatives and strategies for distribution?

Making them as accessible as possible involves several approaches. Starting with the use of anecdotal film codes, to demonstrate the cinematic gesture of heritage documentaries. A strategy adopted by Mathieu Berton and illustrated by the trailer for Frederick Wiseman's Titicut Follies, released in France in 2017. The poster, typography and colors are designed to bring modernity to the work, without distracting the viewer.

As Emmanuel Gibouleau and Annaëve Saïag explain, the release itself can be a springboard for the distribution of heritage documentaries. The exhibitor organizes meetings and workshops around documentary heritage, to raise awareness among its audience: on October 9, a session was organized around the works Beppie and Les Vacances du cinéaste by Johan van der Keuken, screened in audiodescription. For her part, the marketing and communications manager explained that the Tënk platform is asked by distributors to put particular films online at the time of theatrical releases. In this way, Tënk becomes a tool for the creation of a documentary culture, and heritage documentaries in particular. 

The platform also makes use of social networks to talk about documentary heritage and link it to current events. A weekly newsletter has been created, and Instagram and TikTok are invested by publications on documentary heritage. Since October 1, Tënk has been offering its Traversée du documentaire (documentary crossing), with free access to a film introduced by a video on TikTok, linking the classic form with a more contemporary format to create a dialogue between films. The cycle begins with Nicolas Philibert's La moindre des choses.

Restoration, the key to heritage documentaries

Last but not least, restoration work was mentioned as an essential element in ensuring the accessibility of documentary heritage. And, according to Catherine Bizern, as a means of bringing audiences together, since without good-quality copies, theatrical screenings are not as effective. A view supported by Mehelli Modi, for whom, beyond the physical copy, it is the screening that ensures public confidence in heritage documentaries.