The session was moderated by Dani Carlaw (she/her), Director of Unscripted at Creative Scotland (United Kingdom), and featured three key figures in the international industry: Benjamin Cölle (he/him), Managing Director of Pluto Film (Germany); Shoshi Korman (she/her), Co-Managing Director of Cinephil (Israel); and Freja Johanne Nørgaard Sørensen (she/her), Senior Sales and Acquisitions Executive at DR Sales (Denmark). Together, they offered an up-to-date overview of the role of the sales agent within the documentary ecosystem and outlined practical pathways for films to reach audiences.

In a global landscape where the volume of documentary production keeps rising and audience attention is increasingly fragmented across platforms, the panelists agreed that the most common mistake filmmakers make is approaching sales agents too late. Waiting until the film is finished and ready for its premiere means losing months —or even years— of strategic preparation and momentum building. “Talking early doesn’t mean signing early,” they emphasized. It means opening a dialogue, receiving feedback, and shaping a strategy from the outset that aligns both with the film’s identity and its market potential.

This early collaboration also translates into the development of strong communication materials that reflect the character of the film: posters, artwork, taglines, and trailers built from the director’s deep knowledge of the story. Sales agents, they stressed, do not “take over” the movie; they act as translators between the filmmaker’s vision and market dynamics.

The relationship was described as a long-term partnership, comparable to an arranged marriage where trust, chemistry, and clarity of purpose are essential. The panelists urged filmmakers to be transparent about their goals: Is the film aiming for a top-tier festival premiere? Broad television reach? Platform exposure? The educational market? Wanting everything is understandable, but often counterproductive. Honesty helps avoid friction and allows for a realistic roadmap.

When discussing what success means, the speakers avoided any notion of a one-size-fits-all formula. Success is not always about big awards or major sales. Sometimes it lies in reaching new audiences, sparking conversation, or building a strong festival run. Each film must define its own metric of success from the very beginning.

The role of sales agents in festival strategy was another key topic. Beyond securing invitations, agents help filmmakers make difficult decisions: an early premiere at a well-known festival might block access to a more suitable one later. With their knowledge of programmers and programming trends, agents support filmmakers in choosing the time and place that will best propel the film’s career.

The conversation then shifted toward the broader evolution of the market. Platforms, broadcasters, and audiences constantly shift focus. As a result, sales agents now look far beyond traditional distribution: they explore remake rights, podcasts, derivative projects, and new avenues that extend a film’s life. In a world saturated with distressing news, there is also a growing appetite for films that offer hope and humanity while remaining truthful.

One of the most revealing aspects for attendees was the meticulous attention to detail behind international sales. From fine-tuning subtitles —which serve as the base for all future translations— to preparing responses to potential buyer objections, agents work to ensure the film reaches viewers in the best possible shape. “Our job is to make sure people watch the film and understand it,” they summarized.

The panel also dispelled the stigma around the word “commercial.” For them, commercial simply means that a story connects, that it resonates emotionally with many people. That is, after all, one of the central aims of documentary filmmaking.

The discussion concluded with a powerful takeaway: filmmakers and sales agents are not on opposite sides. They are partners in a challenging and competitive journey. When there is communication, honesty, and a shared purpose, the chances of a film traveling, being seen, and making an impact grow exponentially.